It’s not often you run across an 11-by-25-foot painting that could be characterized as subtle, but that’s true of all five works in Toba Khedoori’s first solo museum show. Although Khedoori’s pieces are scaled to the wall, it’s hard to label her a muralist. Unlike the well-populated, briskly narrated wallscapes of, say, Nicole Eisenman and Lari Pittman, Khedoori’s paintings are devoid of human actors. In fact, the enormous fields she presents are mostly devoid of imagery.

Not that they’re blank. Khedoori tears sheets of paper torn from a six-foot-wide roll and covers them with a thin layer of

Rosalind Krauss once noted that the sea is a special medium for Modernism because of its isolation, self-sufficiency, and detachment from the social; it promises a limitless visual plenitude, yet is characterized by an insistent sameness. Robert Blanchon has recently photographed the sea as one of three interrelated series that were on view at the Marc Foxx gallery: “Wave (0-9),” “Tree (0-9),” and “Rock (0-9)” (all 1996). Consisting of ten identically presented photographs of individual waves, trees, and rocks, each series seeks to create a tension between a transcendent vision of Modernism and