For the past forty years Nassos Daphnis’ paintings have embodied a seemingly imperturbable equilibrium. Since 1952 his canvases have been subdivided and proportioned with the snap-string precision and compass-wielding flair of a visionary master planner. He has demonstrated his unwavering faith in the power of abstraction to outweigh the minutiae of everyday life. His paintings are, as were Piet Mondrian’s, the pictorial condensations of a search for harmony—for resolutions of real-world irregularities and discontinuities into disciplined configurations whose chromatic power provides their