The eleven recent large-scale paintings in David Salle’s exhibition “Self-Ironing Pants and Other Paintings” featured dapper gentlemen and dolled-up dames. These cavorting protagonists were copied from Peter Arno cartoons originally published in the New Yorker and dating from the 1920s through the ’60s, but Salle rid the cartoons of their editorial bent, scaling up, cropping, splicing, and rotating Arno’s bold-stroked satires of American café society and adding color and consumerism to the mix. He complements Arno’s grisaille vignettes with vibrant images appropriated from midcentury advertisements:

About ten years ago, Caroline Wells Chandler was living in East Texas next door to his aging grandparents. The New York–based artist, who identifies as a “fluid non-binary transgender boi,” remembers feeling guilty about “ditching them” to work on a group of large-scale paintings he was then producing, and so, armed with balls of colored yarn purchased at Michaels, he started to crochet, which allowed him to hang out with the couple while working. Chandler continues to use a variation on the slip stitch to make exuberant hand-crocheted “drawings,” twelve of which were stapled to the gallery