Indianapolis Museum of Contemporary Art (iMOCA). Many of the depictions of built environments by the six Los Angeles-based artists represented here can be read as studies in estrangement from the natural world and even from the notion of community — or neighborhood — itself. You might, at first glance, see Alia Malley's photograph of an abandoned rail line surrounded by trees as a revelation of an idyllic refuge tucked within L.A.'s inner city. But the knowledge that this land will soon be destroyed to make way for a railroad line's expansion might alter your perception of this photograph: You might view it as a funeral portrait. Another type of death is explored in Jennifer Lanski's "American Dream." Under each of 50 colored-pencil drawings of houses from 50 states, Lanski writes the amount of hours working at minimum wage that you'd need to have worked in order to afford the house in question. Let's just say that the figures don't add up. And in Nikko Mueller's painting "Channel," you see the largest church in Orange County, CA, depicted from above, at night, looking like an alien creature on the prowl (Evangelical mega-churches are thriving in this time of economic dislocation and uncertainty), while in Shelby Roberts' black and white photograph "Imperial Beach," the subject is the fence along our southern border that separates the American neighborhood from the rest of the world. Through Nov. 20; 634-6622; www.indymoca.org.