Richard Wright is fascinated by what he calls the “ghosts” of painting’s history. The idiosyncrasies of a Guston or an Ensor, for instance, place them in awkward relation to tradition and prompt challenging questions as to painting’s potential. Wright’s own wall drawings, destined to live only briefly before being obliterated by the next layer of white emulsion, pose equivalent difficulties. This show’s three seemingly familiar elements—an architectural interior, a landscape, and a text fragment (a borrowed song title)—set up a subtle dialogue between the delicacy and restraint of the