Lee Kit’s exhibition “‘We used to be more sensitive.’” turned most of the rooms of this 1930s-era building into a temporary home for feather-light interventions. While painting in Lee’s practice can certainly refer to the process of applying paint to a substrate, it is just as likely to refer to that of articulating light through the utterly utilitarian but thoroughly contemporary means of a video projector. What is most thrilling is when he throws footage of flapping fabric, or that of a painter in a studio adjusting a work in progress, onto plain or painted planes in a kind of trompe l’oeil