“Parasol,” Jessica Warboys’s solo debut show, was dominated by two large unstretched canvases at opposite ends of the gallery, both indexical in procedure. Blue Parasol, 2009, is actually a cyanotype photogram: Warboys made it by coating the canvas with a light-sensitive solution, placing a bundle of reeds in a circular formation suggesting the shape of an open parasol at its center, and exposing it to the sun. Sea Painting, Dunwich, 2009, was formed by immersion in the ocean, its pigment spread by the waves. Importantly, the artist has cut significant portions of each canvas away, revealing

Guillaume Leblon’s art is in transition, but it doesn’t show the growing pains that render the phrase “in transition” a charitable way to disparage unsuccessful new work. Whatever his newest sculptures have lost in elegance they have gained in texture and expansiveness. Indeed, his exhibition “Réplique de la chose absente” (Replica of the Absent Thing) seemed to recast maturation itself as lush, autumnal decay rather than patchy springtime blossoming and, as a result, his transition looked altogether melancholic and profound.

If his earlier work was characterized by an almost phlegmatic engagement