In her recent “metaphorical landscapes,” as she calls them, Frances de La Rosa looks back across the gulf of Greenbergian flatness and its ironic revival in recent abstraction toward the perspectival Surrealism of Yves Tanguy (without the burden of the Surrealists’ psychological program). De La Rosa paints rolling hills, round-roofed huts, square farm plots, and tall rectangular buildings, with occasional swooping, phallic vegetal growths that suggest Jack’s beanstalk as they shoot up through square holes cut in overhanging, ominous clouds. These are all painted in a broadly pointillist technique