Violet Dennison

The centerpieces of Violet Dennison’s solo exhibition here are three large semispherical baskets, which rest on the gray-painted floor like upturned umbrellas. Bound in webs of monochromatic plastic, they present unexpected twists: Each node is an excerpt from “Disappointment,” chapter four of the young artist’s memoir. In the spirit of the exhibition’s delicate, existential humor, I can’t tell you who is disappointed, as the text is encrypted using knot cyphers that, while simple, are too quirky for a neophyte like me to decode.

Installed along two walls is Divination 2, 2019, a sound piece

picks March 21, 2019

Hon Chi-fun

Hon Chi-fun (1922–2019), a self-taught artist, began making plein air landscapes in oil while working for the Hong Kong post office in the 1950s. In 1964, he cofounded the avant-garde Circle Art Group, which, through the abstraction of traditional Chinese aesthetics, innovated a cosmopolitan modernism. One of the earliest works in “A Story of Light,” a selective, four-decade survey, is the Pop art–inspired Bath of Fire, 1968. For this silk-screened acrylic work, Hon imprinted a delicate frieze of maps, photographs, personal letters, and poems—all indistinct, like oxidation or mold—into a triptych