As piercing as two gigantic eyes, a monumental, psychedelic diptych replicates the image of a dome in Berend Strik’s latest exhibition—dominating the gallery space and encapsulating the characteristics that have been crucial to the artist’s work since the late 1980s: photographic images rigorously reworked as embroidery, with brightly colored fabrics and threads; a passion for architecture; and allusions to personal narrative. The Face in the Building or History Crying (all works 2009) forms a dazzling dissection and doubling of the cupola of the Szeged Synagogue in Hungary. Strik stitched