Tony DeLap, like Robert Mangold, is a seductive but unsung colorist. The color of the irregularly shaped canvases in DeLap’s current exhibition defies any attempt to describe or convey a sense of it: pale yet rich silvery eggplant, thundercloud gray with silvery olive drab overtones, and so on. Although the surface color is uniform, monochromatic it is not.

The elusive yet palpable presence of DeLap’s color informs the physical structure of his paintings. The three large works in this show are variations on a basic format; in each a square canvas is abutted to one interior edge cut from a tondo.

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