The centerpieces of Fin Simonetti’s solo show “Head Gusset,” at Cooper Cole, are two bear traps made of stained glass. I crept around the traps as if they were functional, circling them like an animal curious about a new addition to its territory. Intrigued, but wary. I fantasized about them snapping shut and the resulting havoc. I pictured a demolition video on YouTube: there one minute, gone the next. Intrusive thoughts suggested that an act of violence would be even more breathtaking than the two traps, in ethereal greys and earth tones, sitting serenely.