Joseph Zito places stock in the fundamentals of the human condi- tion. Birth, nurture, family, friends, shared experience, memory, imagination, hard work and accomplishment, loss and the limits of life are themes that have informed his art for more than thirty years. His 2015 exhibition at Lennon, Weinberg was a retrospective survey; the current show has tendrils in the past but is one in which he has chosen to endorse the present in all of its precariousness.   Last year he took up beekeeping and saw in it a perfectly cali- brated, though fragile, example of environmental and social infra- structure and a satisfying metaphor to generate a body of work. Originally intending to make a series of sculptures in the form of exquisite beehives constructed in exotic woods, he realized after making the first one that as much as it satisfied an H. C. Wester- mann-meets-Donald Judd axis present in his work, it was inher- ently limited as simply craft and lacking an expressive component.   So he chose to invoke the social imperative of the bee colony by inviting ten artist friends to collaborate with him. He made for each of them an impeccable clear pine hive, a stack of one deep and one medium compartment of the Langstroth type, and asked them to do something, anything at all, to embellish them and allow him to make their beehives part of “his” exhibition. The results express both individuality and community.   The collaborating artists are Carolanna Parlato, Eric Brown, Jill Moser, Marthe Keller, Damon Brandt, Edward Burke, Gary May- er, Glenn Goldberg, Jim Lee and Katherine Bowling. The exhibi- tion also includes four of Zito’s own beehive sculptures, along with watercolors and two paintings on unstretched canvas dropcloths.   Zito’s bee colony survived the long and frigid winter.