“No, no, no,” Elizabeth Newman is constantly stating in her work, while hinting at an ebullient “Yes!” The Melbourne-based artist asks us to look at the portals hidden in formalist tropes—at negatives that express positives and at barriers that surreptitiously let us in. In her recent exhibition “Is that a ‘No’?” a repertoire of paintings, textiles, collages, and sculptures alluded to the productive potential of gaps, holes, accidents, and absences. Comprising works dating from 1989 to 2019, the show, smartly curated by Naomi Evans, was less than a full-dress retrospective, but it did concisely