To those familiar with the work of Portuguese artist Ana Manso, her double evocation of the idea of “order” in her recent exhibition—both in its title, “In Order of Appearance,” and in her emphasis on one of its structural pillars—might come as a surprise. In her practice, which has been deeply rooted within the medium of painting, Manso has always rejected any form of order, much as she has avoided the manifold fields of representation. Instead, the notion of an endless “landscape” composed of layers of paint, which are reminiscent of capsules of time—moments in which the artist