The sixteen canvases making up Seeun Kim’s exhibition “Pitman’s Choice” evoked both the sea and the city, marked as they were with bleeding curves that suggested overpasses, bridges, and dunes, perpetually fusing and confusing the biomorphic and geometric. The thirty-year-old Korean painter’s palette of beach-house colors—tortoise shell, cabbage white, greens the shade of hedges—further jumbled the stairs, tunnels, and passageways of urban vistas with those of an architecture of the emotions. Scale became hard to gauge. The central mass in the earth-toned Leftover, 2017, could have been a root