Born near Paris, Alain Jacquet decamped to New York in 1964 in his mid-twenties. Seen as a French artist in his adoptive home and lumped in with American Pop by the French, Jacquet, who died in 2008, was ultimately underappreciated on both sides of the Atlantic. The recent miniretrospective “Jeux de Jacquet” (Jacquet’s Games) framed the artist’s best-known work—paintings and silk screens inspired by Édouard Manet’s Le déjeuner sur l’herbe, 1863—within a career-long exploration of how reproduction (manual and mechanical) reveals the continual intertwining of abstraction and representation.

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