Since he first emerged on the art scene in the late 1960s, John Armleder has sought to transcend categorization or definitive placement within genres, styles, or movements. His current show, “Better, Quasi,” is a sort of macro-installation, both unified and multiple, consistent and multifaceted, playing with the relational mechanisms between walls, surfaces, objects, and reflected images. The exhibition’s title seems to conjoin two fundamental factors in Armleder’s deliberately and knowingly eclectic poetics. On the one hand, better expresses a dynamic and progressive aim at improvement and is

José Parlá’s personal grand tour of Italy extended north to south through seven cities—Milan, Bologna, Rome, Naples, Matera, Bari, and Lecce—whose urban plans reveal profound differences in land, politics, and culture. The route was echoed in the artist’s ten new canvases on view here. Fragments of walls, which Parlá found and picked up along his travels, and other materials were superimposed in complex and harmonious abstract compositions.

In these works, the artist has a dual viewpoint. From a distance, the viewer could grasp the totality of the painting and the formal play among its