Henry Schreiber reimagined Henry Fuseli's famous (and frequently copied) oil painting The Nightmare, replacing the incubus with a dozen groundhogs striking the same quizzical pose. Then there was Marmot with the Pearl Earring and the Marma Lisa. In his latest work, Schreiber turns his pastime of marmot-spotting from the front porch of his family's farm into "an allegorical journey to a small pocket of Appalachia, seen through the eyes of a naive marmot" in his solo show, "Hollerbound." Our hero is bound to the hollow between two hills, or "holler" in Appalachian parlance. There is something unsettling about these giant squirrels, like watching our own bad behaviors in distant primate cousins. A little too humanoid for comfort, these marmots make ideal companions for Modern Eden Gallery's other tenants, the marginally human denizens of "The Grotesque," a group show of nearly 40 painters "in which natural forms and monstrous figures are intertwined in bizarre or fanciful combinations." With melting faces or gleaming skulls, they follow the adventurous rodent out of purgatory and into hell, "measuring the depths of ugliness and horror through painting."