Last summer was Matt Scobey's season. Not only was his floor piece in Denver's Biennial of the Americas one of the genuine standouts in the event, but his solo at Leon Gallery, The Essence, was one of the strongest shows of the year. In it, Scobey played with art history in a set of chaste post-minimal boxes and a group of brutalist totems. Each type of work employed cast concrete as its principal medium. The boxes, titled "Vibe Transmitters," were placed on wooden stands of different heights. They had three separate parts: a transparent colored acrylic sheet through which light emitted was sandwiched between a concrete base and a concrete top. As good as these were, they were overshadowed by Scobey's even better non-objective totems, also in concrete. Some of them were made from casts of discarded items, like soda bottles or cut-up basketballs, but surely the best were those composed of purely geometric shapes, including pyramids, cones and solid rectangles. In these, Scobey consciously referred to Brancusi's "Bird in Space" and "Endless Column," and he clearly couldn't go wrong with that.