You travel through Nic Nicosia’s retrospective like a voyeur through a neighborhood, peering into window after window for illicit kicks. You catch a glimpse—brief, partial, even hazy. At times you do a double take, unsure what you just saw. Nicosia’s grasp of cloaked emotions and stalled dreams is so convincing, you can’t help but feel you’re privy to things you weren’t meant to see. Here is an artist who operates as much from his gut as from his head, and who actually says something about white middle-class America. Nicosia gauges the depths of suburban experience, as critic Dave Hickey writes

Miltos Manetas began making paintings in 1995, some time after he had become a devotee of computers and mastered image-processing software, so it is no surprise that laptops, Zip drives, data cables, and digital-game components populate his works. But beyond providing subjects for still lifes and props for figure studies, the “coolness” of computer technology, its cut-and-paste power over images, has led the artist to an analogous casualness about the vocabulary of painting that permits him to freely sample styles of rendering and strategies of composition.

The series “Eight Perfect Paintings”