Lari Pittman, who has unabashedly embraced the decorative ever since his exposure to the Feminist Art Program at CalArts in the 1970s, can pull off the most conceptually complex paintings of subject matter conventionally deemed frivolous, including fine jewelry. In his first Paris solo show, individual pieces from two parures—sets of matching jewelry that were popular in early-nineteenth-century Europe—appeared as quasi-Pop still lifes across a group of five large-scale, delicately made paintings, each titled Diorama and numbered 1 through 5 (all works 2021). Lured in by the gemstones that stood