“Naked Light,” Amélie Bertrand’s recent exhibition of oil paintings and digital prints, depicted Miami Deco-style architectures in ersatz tropical settings. Works in both mediums featured colorful compositions of stone fountains and porticos, palm trees, ferns, and fruit bowls lit by pink and yellow florescent bulbs. Given the blunt artificiality of these particular scenes, it’s no surprise that Bertrand conceives them on a computer using Photoshop and images sourced from the internet. What was unexpected, however, is how well her paintings—even more than the digital prints—evoke the

If the first noun in “Peintures et Hotline” (the title of Santiago de Paoli’s first solo exhibition in France) announced the paintings on view, the second referred to a binder of erotic drawings, undisplayed but available for viewing on request. The twenty-one oil paintings—variously on felt, wood, plaster, and ceramic—hung at different heights on the gallery’s white Sheetrock and exposed-masonry perimeter, save for two, Chaussettes à centre libre (Free Center Socks), 2018, which was set leaning against a wall, partially propped up by a stained cork, and Here you are, 2018, which lay