You don’t know where to look first in Gianfranco Baruchello’s paintings. Very small drawings, meticulous and extremely precise, populate large canvases, where the whiteness of the ground dominates. As the eye traverses the void, it discovers possible narrative connections among these “atoms,” which are made up of figures, objects, and written phrases that come together in fragile groups to which we seek to give meaning, precisely as we attribute a shape to some stars in the firmament, calling them a constellation. Or perhaps it is like a contemporary score in the style of John Cage, in which

In Italian, the word verso has several meanings: a line in poetry (“verse”), the direction of movement (“toward”), and the back side of a sheet of paper (“verso”). As the title of Latifa Echakhch’s recent exhibition, the word reflected the complex and stratified nature of her work. The artist seeks and reveals the polysemic nature of words and things—meanings that slide into one another, sharing some aspects yet elsewhere diverging. Enluminure (Illumination), 2012, a site-specific work the artist prepared for the gallery, was made of black ink that had been dripped down the gallery windows.