David Askevold’s photo-installation, “Delville’s Visit,” operates under the aegis of its namesake, Jean Delville, who was an obscure Symbolist painter active in Paris in the late 1890s. A reproduction of Delville’s Satan’s Treasure, a stereotypically Symbolist painting that depicts a slender, seductive Satan astride a river of languidly intertwined bodies in an aquatic hell, hangs in the entrance. In contrast to the theatricality of Delville’s version of hell, Askevoid’s response to it, which appears in a small, narrow room behind the print, is modest and sparse.

The installation in this room is