Comfortably straddling abstraction and figuration, Philip Tsiaras’ “Topologies” brings the question of pictorial depth into focus. Tsiaras (who, until recently, seemed essentially pledged to the articulation of the sensual and primordial in works replete with evocations of the unconscious) appears now to have taken on the exploration of formal and material issues in painting as well. Although undoubtedly “old hat,” they remain, for him, inexhaustible and constantly renewable problems. Also exhibited were smaller works on paper, bearing strikingly lovely and limpid images, while the third body