Signals and Sentiments is a two-part exhibition that examines how gesture functions as a mechanism for the production of identity. In CDCC’s third-floor gallery, the exhibition takes the form of an intimate group show for which five Toronto-based artists—Sebastián Benítez, Petar Boskovic, Shelby Fenlon, Maxwell Hyett, and Mickey Mackenna—consider the inner workings of the gestural urge. Placing a varied selection of sculpture and photo-based objects in context with each other, exhibition curator Katelyn Gallucci investigates how seemingly divergent artistic gestures might fundamentally derive from inadequacies of language, disposition, desire, and whim. Additionally, three site-specific installations in the building’s expansive stairwell spaces address the exterior and transitory properties of gesture. Extending themes of self-discovery, the relationship between perception and memory, and the search for emotional connection through time, these dynamic spatial interventions by Maggie Groat and Jimmy Limit (working in collaboration), Karen Henderson, and Josée Pedneault condition the viewer’s bodily response as much as they embody gestural acts and intentions.