A. Gray Lamb's work dwells in the space between authenticity and forgery. The prints, sculptures, photographs, and found objects of remarkable worlds and contemporary conspiracy share a quality of the uncanny, each piece removed (and re-removed) from what clear truth it had previously occupied. In the era of rapidly spread mis-information via the internet, Lamb embraces the gap between viewer and fact and utilizes the divide to frame fabricated landscapes, artifacts, and cultural myth with the same care and brevity as the real. Through the lens of a camera, under the plexiglass of a display case, or the printed pages of a zine, constructed worlds begin to tip toward the side of reason and reality. Taken together, these replicas and fabrications establish new kinds of museum spaces, in which the objectivity we expect from an observatory or natural history museum yields to sentiment and nuance. Ultimately, the viewer's "belief" in these objects, and the narrative they represent, allows them to exist simultaneously as fact and fiction.