Vernon Fisher’s recent paintings are true conundrums, carefully crafted pictorial mélanges of abstract passages (both linear and painterly), text, trompe l’oeil detail, and highly realistic grisaille vignettes that defy one kind of resolution in order to hint at other, more speculative ones. Layering and interspersing his components skillfully, he shifts modes so seamlessly—often within the same work—that he willingly dispenses with any commitment to a signature style. Instead, Fisher seems to argue for a leveled democracy of pictorial languages that makes individual instantiations