Liang Shuo’s most recent solo showing “Fei Te” (“Fit”) involves a bit of wordplay. The Chinese words “fei” (expense) and “te”(special) register meaning individually but their combination does not, except as a phonetic match for the English word “fit.” The same might be said about Liang’s current installation, a sprawling effort chock-a-block with myriad sponges, plastic foliage, clocks, broom handles, mop heads, clothespins, lampshades, curtain rods, plungers, hangers, cheap laminate surfaces, and mattresses. Taken on their own, these everyday objects may have practical meaning and use but after being unceremoniously combined, lumped, fastened or jammed together, their functionality is lost. What remains is the unwavering presence of their shape, color, texture, and form. Containing objects copiously collected over the past two years and assembled on-site over a month, “Fit” is a monument to the plastic, gaudy, and jerry-rigged aesthetic that permeates contemporary China. There is no apparent logic to the circular layout of the five rooms—which begins with an ad-hoc shower-fountain walled-in by plastic covered furniture and upright pieces of cut flooring and proceeds to a garish mint-colored living room set-up; followed by a room of freestanding sculptures, a stacked assemblage of desks, tables and cabinets with piped in classical music; …