The paintings in Jutta Koether’s recent exhibition “Maquis” could be hard to bear, not least because they are so overloaded with history. Nearly all of them refer to works of art from the past, ranging from Botticelli and Piero di Cosimo to Mondrian, Balthus, Florine Stettheimer, and—perhaps most unlikely in this strategically inconsistent list—Lucian Freud. At the center of the show were three horizontal paintings, each installed on a pillar, thereby creating a series of cross shapes, which could be walked around. Koether does not shy away from religious connotations. One of these