Bradley Jones has been painting the figure for more than two decades. His early work often portrayed fantastic figures such as dog-faced men in business suits; in the ’70s he began crowding his pictures with the members of Detroit’s working class. These characters, while not necessarily having outsider status, still bore the mark of alienation. In the work here, they are contained within grids—some show multiple images of the same subject, others frame apparently unrelated scenes—in which each element stands as a picture in its own right. Whereas Jones’ previous works could be read as mere