The canvases in David Salle’s recent show—diptychs with one or more rectangular spaces cut out, into which other, smaller canvases have been inserted—were constructed in the artist’s trademark fashion. In the past, Salle’s incorporation of non-pictorial objects into his paintings led to works that were polymorphic and expansive, but in these newer canvases he has limited the range of incorporated materials to the canvas-within-a-canvas, and the play between planes has become exclusively pictorial. The show also contained paintings on paper, as well as a series of photographs shot over the course

A series of small landscape photographs, which appeared to be three-dimensional because they were taken with a trifocal camera, were on display in Maurizio Vetrugno’s recent show. His images of rocky vistas and desolate moors weren’t particularly captivating in themselves, and this viewer’s initial impulse, faced with a stream of mundane, unidentifiable scenes, was to try to invent a narrative while groping for possible points of reference. Only through the artist’s direct intervention, however, could the motivation behind the images be grasped.

In a letter also on display in the gallery, Vetrugno