As much objects as images, Sono Osato’s thickly impastoed canvases have the physical presence of sculpture. In this small, elegantly composed six-painting installation titled “The Sound of Ku,” careful consideration was given to the position of each work and its relationship to the others. From a distance, the viewer’s impression of the larger canvases is of austere, monochromatic monoliths: serious-looking Minimalist slabs of paint that lean against or, in places, out from the wall on wires. Even the smaller pieces have a weighty presence, in part a result of the buildup of paint, wax, and