Inez Storer exhibited sumptuous mixed-media installments here, all from 1989, in what might be called her “Voyage of Self and Marriage” cycle. The paintings show male and female figures pitched against elemental vistas, predominantly, air and sea. The figures, with their sharply planed contours, have the individual, hieratic fixity of footprints; the elements—bright, busy air, darkly tossing sea—are all a matter of flux, so that each scene unwinds with a natural-looking, tousled continuity. The overall approach is personal and operatic, with images that have washed up plush from the artist’s