Jonathan Lasker presented four large canvases here—Digital Affection, The Politics of Reality, Histrionic Affinity, Fake Freak, all 1988—one on each wall of the gallery. Employing a dry, peremptory, affirmative language, the pieces show him pushing to the limits of the coldest geometricism. His structures end up being so taut that they move beyond abstraction. It is difficult to find harmonious relationships in them, or to discover their historical sources. Lasker’s work seems more linguistic than pictorial, to the point that its structural arrangements bring to mind the obsessive and repetitive