At first glance, Greg Bogin’s thickly gessoed, enamel-on-canvas paintings seem cool and formalist, a cross between the work of Imi Knoebel and Peter Halley. When they are viewed under artificial lighting, these abstractions could be pieces of stamped plastic or painted, poured metal—objects that might go well with patio furniture. Closer examination, however, yields a handsome reward. Gaping expanses of white paint suggest architectural elements like windows, doors, or hatches. Pulsing with energy and illusionistic effects, these paintings maintain an uneasy relationship between the image and