In her new series of paintings, Joanne Tod asserts the value of painting and painterliness against the more ascetic qualities of lately trendier art forms—although her only innovation in these very large works is to paint on layers of nylon mesh. The panel underneath appears hazily through the top layer, which is half obscured by figures. All the works replicate a museum or gallery interior, such as the Henry Moore room at the Art Gallery of Ontario, or Matthew Barney’s installation at Barbara Gladstone Gallery in New York. In front of these scenes a couture-clad model appears, hard-edged against