The title of Natalya Hughes’s latest exhibition, “The Landscape Is in the Woman,” borrowed Willem de Kooning’s words from 1953, the year when his first “Woman” paintings were exhibited. The recall of de Kooning’s fearsomely sexualized female bodies hacked out in Abstract Expressionist style might suggest yet another feminist critique of his portrayal of women as objectifying and aggressively misogynistic—a reproach that since the 1970s has become orthodoxy. While Hughes’s show was patently informed by such views, she describes her artistic conversation with this canonical modern painter in more