Two of the thirteen paintings in Kristina Jansson’s captivating exhibition take their titles from Mensch und Sonne, Hans Surén’s 1924 book of photographs that campaigned for the utopist benefits of a nudist life. These monumental paintings are architectural scenes of an interior and an exterior conceivably from the same sanctuary for pleasure-seeking. Both the sun-drenched exterior and the murky indoors show Jansson’s persuasive ability to paint with a mixed bouquet of opulence and decadence. With this conceit of hedonism in full play, Surén helps Jansson with the heavy lifting. A former