Roger Hankins has hit upon a painterly conceptualism that, far from being remorseful or snide about its parameters, pounces with glee at the sight of them. In 1984, while visiting New York from California, Hankins wandered into a discount art store and, fascinated by a stock display of cheap, handpainted still-life pictures, managed to acquire a set of them at bulk rate. Since then, he has continued to stockpile examples of the same, more-or-less-anonymous items, using them as the material grounds for his own paintings. Seventy years earlier, in the dim light of a train compartment en route from