The twin series of paintings in Francis Alÿs’ recent gallery show probably originated as illustrations to the urban interventions he executed after moving to Mexico City from Belgium five years ago. While the spirit of those ephemeral pieces swiftly spread among the work of many young Mexican artists—including that of Gabriel Orozco—Alÿs’ paintings evolved into works that defamiliarize our viewing habits.

In “The Liar,” 1993–94—a series of strangely delicate paintings in resin, wax, and oil—an archetypal clerk in a standard gray suit is the agent of seemingly incoherent actions and situations.