For much of the past decade, the paintings and subject matter of Edinburgh-born artist Peter Doig appeared at odds with the art world’s prevailing taste. Taking their (painterly) cues from such unfashionable and unlikely precedents as Edward Hopper, David Milne, Edvard Munch, and James Abbott McNeill Whistler, Doig’s melancholic works—invariably landscapes—were anathema to the visceral theatrics and conceptual endgames of much ’90s art. However, Doig’s persistent engagement with painting’s potential to describe or imagine pictorial realms outside of, or just beyond, those of our rational world

The gallery that mounted Vincent Dermody’s most recent exhibition is actually a two-car garage. Sharing the space with a headstone and the oblong demarcation of a grave was a 1978 Ford LTD II in a tinny shade of bronze, which the artist had simply parked inside. Titled “You’re Still Under 30” (it opened just before Dermody crossed the threshold), the project functioned as part exorcism, part self-portrait, part arcane Irish wake, and part chastened declaration of independence.

When Dermody’s father arrived in the United States from Ireland, his name was changed by mistake to Darmody. In 2000,