Gallery Four curators Dustin Carlson and Jason Hughes may single-handedly put Baltimore on the contemporary art map. Far too often, contemporary art in Mobtown mistakes half-baked for visionary and "conceptual" for an idea, resulting in works that feel derivative at best or weird solely for weirdness' sake at worst. Gallery Four's exhibitions bubble with the slightly askew attitude that is Baltimore's stock in trade, but they also display ideas that show their creators haven't been thinking in a provincial vacuum. What started with exhibitions featuring artists in some way associated with the Maryland Institute, more recent shows--this past winter's Multiplicity and this summer's Icon--have cast a wider curatorial net. Carlson and Hughes stick to a disciplined exhibition strategy to only show work that they're committed to, but that means they don't mount shows that often, often a death knell in the gallery world. But it is galleries more concerned with encouraging artists rather than moving work off the walls and into collectors' homes that evolve from the small, idiosyncratic regional spaces of today into the Rosamund Felsen and Postmasters galleries of tomorrow.