Guy Goodwin’s exhibition of new works consisted of still lifes and bird’s-eye-view cityscapes, meditations on the powers and pleasures of painting. Through a laborious but logically derived developmental process, Good-win’s earlier elaborate wall constructions of roughly biomorphic shapes gradually returned to two-dimensional surfaces, while abstract imagery based on natural or man-made forms succumbed to the depiction of recognizable objects. A group of charcoal drawings and watercolor studies provided additional insight into Goodwin’s careful work process.

Goodwin’s strongest, most remarkable