Australian artist Kate Smith’s recent show “An Impression of an impression” was characteristically sparse. Comprising just four little landscape-format paintings, two of them given walls of their own, the exhibition showed the artist continuing her practice of working on a very small scale and deftly manipulating the space of her installations.

Three of the four paintings were titled An Impression of an impression (after Rupert Bunny) (all works 2017) and numbered—variations on a theme. In each, hastily brushed-on strokes of chartreuse in oil form the backdrop to quickly scribbled black