iMOCA hosts a feast of contemporary artworks that interpret the fairy tale Hansel and Gretel, curated by New York City’s Gallery Met at the Metropolitan Opera. Illustrative artworks are strong and feature artists known to fans of The New Yorker. Cartoonist Roz Chast created a 12-sheet, 21st century version of Hansel and Gretel’s drama where the siblings leave a trail of Lorna Doone cookie crumbs that are eaten by wild animals. Chast’s watercolor illustrations remain true to the Brothers Grimm story timeline. (The exhibition prompted me to re-read their story at home.) So what makes the tale of Hansel and Gretel relevant today? Perhaps fear of hard times or the notion of fending for one’s self? Made with yellow Post-It notes and installed on a wall per artist Christoph Niemann’s instructions, “Paper Maze” is an ephemeral paper Pac-Man eating dots that lead to shapes of a boy and girl (aka, Hansel and Gretel). William Wegman’s contribution is a two-panel Polaroid of his two Weimaraners positioned together against a backdrop of green leaves and posed, dressed in old-fashioned beige costumes, with perplexed eyes staring to the left of the viewer. Next to Wegman’s work is Anita Kunz’s acrylic on wood depicting large-headed children holding hands within a sinister forest. Here, Hansel and Gretel find comfort in supporting each other instead of looking for assistance outside of the picture frame. Through Jan. 10; 317-634-6622, www.indymoca.org.