With titles such as “Yellow as Quince” and “Tibet,” each of Silvia Bächli’s small, black and white drawings seems to suggest its own quirky universe of exotic associations and half-buried memories. When the drawings are grouped together, it is difficult to discern the individual ideas that reside in each expressive trace. As if to complicate matters further, her drawing style has become even more economical over the past few years, transcending gesture while maintaining a strong corporeal presence. Intimately focusing on fragments that reveal the core of an object, Bächli often depicts only