Driven to explore black female subjectivity and racial politics in her work, New York City artist Simone Leigh might argue that there isn't, and that's why she repeatedly has turned to a mold of the fruit when it comes to sculpture construction. The watermelon mold was used to make the gold-nippled ceramic orbs - clustered amid TV antennas, in "Queen Bee," and the textured cowrie sculptures that evoke the shells once used in West Africa as currency - as well as a certain female body part. The latter, as well as the final site-specific version of "Queen Bee" and videos such as "Breakdown," appear in "Code Switch" at Gallery Wendi Norris, her West Coast debut exhibition. Soon after that I did a residency at the Smithsonian studying West African ceramics, and since then I sort of understood the kind of work I wanted to make, but it took many years to have the skill to create that work. Performer Alicia Hall Moran really takes the language and gesture through a kind of screen of African American performance.