For over twenty years, Jack Ox has devoted herself to giving visual form to music. Using a system as fascinating as it is Byzantine, Ox has worked her way through painted performances of music as diverse as Gregorian chant, Bach, Debussy, Stravinsky, and Bruckner. Her latest performance was based on Kurt Schwitters’ Ursonate, or “sonata of primal sounds.” In Ox’s version of Schwitters’ noise poem, each utterance (or, for that matter, the silences between them) had been meticulously interpreted in her paintings as a combination of dissected, reassembled images and solid bands of brilliant cadmium