In the five large paintings that dominated this exhibition, Matthew Girson solemnly revisited sites of genocide and cruelty, curiously conjoining idyllic scenes of nature and memories of the profoundly unnatural. His evanescent canvases evoke the helpless manner in which a site bears witness to what has taken place there. On square, immaculately white canvases he paints a large whitish circle that stretches to all four sides. Toward the center of this nearly invisible orb he renders eroded rectangular landscapes based on photographs taken in the environs of Nazi death camps in a delicate gray