Milton Resnick left New York for Europe in 1946, just as the New York School was reaching cohesion, casting him as something of an outsider. When he came back in 1948, he began a massive figurative canvas on which he worked for months, only to destroy it in a state of exhausted delirium. Resnick arrived at his mature style of heavily impastoed near-monochrome paintings around 1960. The works in this exhibition, “Apparitions, Reapparitions,” suggest that Resnick’s figurative turn in the early 1980s wasn’t an about-face from the sonorous abstractions for which he is best known, but that the figures