At the gallery entrance, a large canvas, The White Lady of the Glaciers (all works 2016), hung on a narrow, freestanding wall partially blocking the view of the space behind it. All white, save for details rendered in gold leaf (a small circle resting on a white curve at the top, a semicircle below), the work invoked an icon in both title and position—as if marking the entrance to a citadel. A sense of the sacred resonated, too, in the construction of the canvas—which echoed the show’s title, “TIME” (curated by Maria Nicolacopoulou)—when one considers the lengthy (and meditative)