Connie Hatch’s installation, After the Fact . . . Some Women, employs photos and text to address the subject of injustice to women. Hatch pairs sobering information about the lives, travails, and demises of “disappeared” women with photos of them culled from various sources. The photographs are enlarged black and white positive transparencies sandwiched between clear sheets of acrylite. The 12 photos in the show’s centerpiece, Some Women . . . Forced to Disappear, 1989, are mounted on two walls at 45-degree angles. Presented in a dimmed room and individually spotlit, the panels cast shadowy

Deconstruction as a theoretical strategy has been with us for over a quarter of a century, long enough for its esthetic and philosophical critique to become a staple within the halls of academia. Thus it is hardly surprising to find a new generation of painters, reared on art school dogum, who take Jacques Derrida’s dismantling of traditional binary oppositions—once the very stuff of a utonomous painting—as a given. Jamey Bair is a good case in point, for he encourages a simultaneity of dialectical readings whereby no one binary position is privileged. Instead, order/chaos, representation/nonrepresentation,

The easiest thing to like about Patricia Patterson’s paintings is her subjects, but that is not what makes them important. The strength of the work lies in the artist’s sophisticated technique of building space with color, and her rapid, fluid painting style. Until the past year, almost all of Patterson’s work has portrayed a small community of people in the Aran Islands in the north of Ireland. These simple folk are often shown in the kitchen, near the symbolic hearth. In Mary and Jigs, 1988, a woman who looks to be in her late forties sits at a table smoking a cigarette, while her dog stands