The charm of the six large paintings in “Alphabets and Daggers,” the first London solo show by the New York–based artist Caitlin Keogh, lay in their enigmatic nature. With their flat forms, bold outlines, and complex color palettes, these thinly painted, Pop-ish acrylic paintings combined motifs drawn from a wide variety of sources—from medieval marginalia and Victorian pottery to William Morris wallpaper and Fritz Kahn infographics—into compositions characterized by a beguiling, dreamlike lucidity. For instance, the mottled green ground of A Name is a Ribbon (all works 2018) morphed

My favorite art-world tweet last year came from critic Martin Herbert, who proposed a keyboard short-cut to instantly insert today’s oft-needed phrase, “under-recognized female artist.” This time-saving keystroke would have come in mighty handy this autumn in London, which enjoyed survey exhibitions by Amy Sillman and the late Anni Albers alongside this first-ever UK solo presentation by American sculptor Diane Simpson. An admired figure in the Chicago art scene, Simpson had her second solo exhibition in New York in 2013, thirty-three years after the first one. She has barely exhibited in Europe,