Anyone who asked about the inclusion of women in “Art for All” might well have received a laconic retort from Gilbert & George: the pair would as soon have a fridge in their pictures as a woman. (These words were reported during the artists’ mammoth retrospective that traveled across Europe in 1986–87.) The new paintings (all works 1988) are still devoid of fridges. Instead, we find squeaky-clean female hustlers with skeptically yearning eyes (Being), and sumptuous panicles and umbels against a postcard-azure sky (Loves). We also see the two doyens of living sculpture in various leafy settings.