This two-person show juxtaposed the work of two artists of quite different pictorial means who are both concerned with the rhetoric of framing. Donald McFadyen and Hollis Sigler make very different choices of technique and scale but share subtle connections of setting within distinct manipulations of the frame.

McFadyen’s tiny paintings are disconcertingly fractional. Debris-strewn alleyways, a pool hall’s gleaming fixtures, body parts, or anxious plumes of smoke are all rendered in oil on wood with nearly photographic accuracy in a palette of blacks, grays, and dusty ochers and browns. These

Among painters working today, Anselm Kiefer is one of the few who have been able to legitimize Modernist surface presence and spectacular effects that would be somewhat suspect in the hands of artists of lesser vision. With more than 70 pieces spanning his entire career, this comprehensive traveling exhibition celebrates an artist whose cultural politics emanate from straw-strewn landscapes, pictures of cavernous interiors, and massive gray combines blistered with lead like scar tissue bearing the legacy of the Third Reich. Today, such an attempt to represent transcendence or to transmute history