Walking through the huge new space of Office Baroque, one became aware of something familiar in the overwhelming European solo debut of Mathew Cerletty’s paintings and drawings. More specifically, it was Roses, 2008, a brilliantly painted depiction of flowers—so beautiful that they seemed to be artificial, giving a feeling of déjà vu. One thinks of the seductive quality of the artist’s earlier works, such as Fagaroo, 2002; Le Saucier, 2003; and the impressively melancholic Trying to Live Beside the Point, 2003. In these pages in 2004, Christopher Bollen acutely noted the impact of such images: