Georgia Marsh’s vaporous landscapes want to have it both ways: to embody the tangible atmospherics of real time and place and simultaneously to evoke the evanescent ambiguities of color field painting. The specter of Rothko that hovers in the vicinity of her paintings is thus joined by evocations of certain 19th-century Europeans, for example Caspar David Friedrich and J. M. W. Turner. As she arrived at landscape painting through abstraction, it seems logical that her recent work explores their rapprochement.

The paintings in this exhibition progressed chronologically from moody night scenes to