Following a long period of silence broken by occasional piercing interruptions (among the most recent being the 1985 exhibitions “Ouverture,” at the Castello di Rivoli, Venice, and the “Nouvelle Biennale” in Paris), Gino De Dominicis emerged in late summer to prove himself in a one-person show. This was a substantial exhibition of paintings by an artist who was not fundamentally a painter throughout the ’70s (he first received critical attention in 1972, for his “exhibition” of a handicapped boy at the Venice Biennale). In fact, with the rise of the Transavangardia in Rome and the provinces, De