The self-taught Italian artist faced censorship for her early work: rowdy, racy watercolors, including one here, made sometime between 1938 and 1940, depicting a goggle-eyed figure pleasuring a quantity of appendages. Rama later turned to assemblage; her compact, light-absorbing compositions of rubber tires allude to the bicycle factory owned by her father, who killed himself when it went bankrupt. In her seventies, the artist returned to works on paper, furiously original ink drawings in which the erotic collides with a mechanical world of pistons and shafts. Through Oct. 22.