In a rigorous, almost ascetic show, Lucia Romualdi presented three largescale paintings and two smaller ones that register the change her work has undergone over the last year. The themes of water and memory have been constants in her work for more than ten years. The subjects of this work are in fact based in personal experience, in the seascapes, rivers, and gardens she knew as a child. These memories surfaced spontaneously, reanimated by the artist’s imagination.

The recent work has been cleared of a “feminine” complaisance that was latent in Romualdi’s earlier paintings. She has abandoned

For Sol LeWitt, pictorial space is a temple, symbolic and articulated, that owes its most profound reality to the abstract or spiritual meanings for which it is a sign. Its correlation is geometry—sublime, cohesive, irrefutable. For Mario Merz, space is a refuge, the site of an archetypal sacredness that is immune to the vagaries of technique and culture. This refuge is characterized by the dissemination of signs, which coalesce into a whole only when identified by whoever finds shelter within it. Merz’s graffiti and poor materials are scattered traces that point to the incongruity and transience