Exhibiting works that are emblematic of his artistic activity over the past two years, Sergio Fermariello declares, in this show, an end to the phase of his career during which he used “signs of warriors.” Now he has turned to the topoi of the imagination and to the (no less archetypal) figures of the hunter and the prey. He contrasts a work covered by a dense, obsessive accumulation of a repeated warrior motif with a less-crowded weave of images scribbled in a childish hand—a tree, a hut, a road map, and an image of Vesuvius. Though the child’s scrawl is barely articulate, it is the matrix of