As arguments for analog experience, Annabeth Marks’s abstract pictures are utterly convincing. Meticulously made with hand-mixed pigments and a devotion to detail, each is an intricate investigation of color and pattern. Often resistant to photographic documentation, they bear many signs of a labor-intensive struggle to locate that perfect compositional cocktail. While rooted in modernist soil, Marks’s collage-based aesthetic eschews pretty historical pastiche for something stranger, richer. She offers outlets for slow speculation, avoiding our culture of accelerated time that is increasingly