Michael Nakoneczny’s paintings are frantic and fractured, crowded with figures and signs inhabiting territories of vaguely cubist planes and disengaged areas of splashily applied color. Many of his acrylic-on-Masonite works feature hinged appurtenances, jutting from the sides or the top, suggesting the structure, if not the spiritual references, of medieval altarpieces.

Nakoneczny’s people are crudely drawn, simultaneously childlike and menacing. They move through compositional labyrinths furnished with assorted household objects: washboards, toy trains, claw hammers, and various geometric shapes.