Jayme McLellan's Civilian Art Projects, a commercial gallery of no fixed address, represents a handful of promising young artists. This month, the gallery has its second outing, touching down in a borrowed space in the project room at G Fine Art. Call it Galleries Without Borders. Yet the show, a grab bag of nine works by as many artists, looks too superficially at the gallery's stable. McLellan has always been one to watch, but her latest effort prompts a worry: Has the global art market's embrace of art fair culture -- and its penchant for hanging salable objects divorced of context -- caught on locally?