Tony Matelli's "Fuck'd" commands attention.

This show puts primates in human-like situations, from relatable to otherworldly. Tension arises from the visceral, darkly humorous sculptures of Tony Matelli and Alexis Rockman's romanticized painting of a monkey hero/romantic leading, er, man.

"Theatrical" undoubtedly describes this collaboration, which curator Matt Distel says "is meant to hit you in the gut." The space holds three major pieces: Rockman's painting "Romantic Attachments" and Matelli's two sculptures, "Fuck'd" and "Ancient Echo." Between the two artists' work are Matelli's preliminary sketches and paintings and a monkey sculpture he studied.

Initially, it is questionable why an exhibition includes more prep pieces then finished work. However, Distel comments, "Every exhibition is a conversation. The artist felt that having studies and models were important to the show, to peel back the process. This also reflects the CAC's reputation as an educational museum."

This said, meet our leading actors: Rockman, as "producer," suits his life-sized monkey in "Fuck'd" in a costume commanding attention from the opening act. The chimp hunches over one crutch, trudging forward, impaled by about 15 implements (garden tools, silverware, swords, you name it!) while missing a "part" that is better left a surprise. Is this a dark and twisted version of the light-hearted Geiko commercial, where a pre-historic man is constantly trying to earn respect? What is this chimp fighting against? The antagonist is unclear.

The piece raises many questions. Is "Fuck'd" symbolic of the onslaught of criticism and anguish in the life of an artist? Is this about animal rights or the natural world under attack? Does it reflect an increasingly violent world?

In light of the Virginia Tech tragedy, Rockman's work has an opportunity to mirror the angst and hope of our times. On one hand, the chimp's pierced body might be a literal manifestation of a madman's perforated, disturbed mind. The exhibit references St. Sebastian, a martyr who died pierced many times. Can this limping chimp represent perseverance, like the Virginia Tech survivors striving each day to take one more step forward?

Entering stage left, "Ancient Echo" offers comedic relief. The monkey wears a T-shirt of a well-known computer company and leans against a wall onto which he just vomited. Could it be a commentary on technology's assault on the evolution of humans by acknowledging technology's ability to both help and hinder human connection? This piece is more light-hearted, a little easier to handle -- unless, of course, looking at puke makes you puke.

Distel admits the oddly shaped space of the gallery is challenging. It ironically works like a vomitory (official name of the passageway connecting a tier of seats to a theater's outside entrance.) The space weaves in and out of the supporting roles (preliminary work) and onto "Romantic Attachments."

Matelli's studies of lusciously layered skies and gorgeous textures are a treat, but the idea that a "Homo Georgicus" could replace Fabio as the romantic lead is bizarre. Matelli's portrait contains a languid, nude woman lying on her back on a cliff whilst a torch-bearing monkey stands heroically over her. The exhibition compares the painting's design to Gian Lorenzo Bernini's famous Baroque sculpture, "The Ecstacy of St. Theresa of Avila." The idea that St. Theresa's powerful, transcendent spiritual experience is compared to a listless, unrealistically aroused woman with Curious George of the Jungle towering over her certainly makes this painting a conversation piece.

With the drama, comedy and possible love story, Baroque Biology is a fascinating production. Catch it before the curtain closes. Grade: B