As traditional painting the work of Braco Dimitrijevic is chic, stiff, diagrammatic, and impersonal, an insult to the masterpieces it parodies. By calling his show “New Culturescapes” he can sabotage this criticism and gain free play in the area of his choice. The show focused on modernism and returned to a prevailing theme of Dimitrijevic’s career—the application of democratic principles in art, society, and history. A cat may look at a king; by the same token a painted tiger may stroll elegantly through a Dimitrijevic-painted Jackson Pollock abstraction as in Dimitrijevic’s Two Steps Ahead.

Working and reworking Velasquez’ Las Meñinas, the painting Michel Foucault described as “the representation . . . of Classical representation and the definition of the space it opens up to us,” John Walker has moved gradually from complex, murky interiors to a final, sun-filled dissolution of the motif he calls the “alba.” Two series of drawings were created, presenting familiar Walker motifs and “characters”: a bulbous human figure, simultaneously bosomy, testicular, and feathered; a shape halfway between a baseball mitt and a bunch of bananas; most versatile of all, the alba—solid object,