In the late 1970s, still in her thirties but having made a name for herself as editor of the Situationist Times (1962–67) and as a Cobra-adjacent painter of suicides and car crashes, Jacqueline de Jong turned her attention to a rather Pop subject: billiards. Created in Amsterdam, the eight paintings on view here—part of a series comprising more than twenty “Billiards” paintings, 1976–79—featured different permutations of felted tables, glossy balls, wooden cues, cubed chalk, and male players depicted from odd angles and intimate proximities.

The particular game featured in these paintings is

During the fifteenth-century age of exploration, European sailors believed in a mythic island called “Antillia,” rumored to be somewhere in the Atlantic, just beyond the edge of existing maps. Conjuring this terra incognita, Jennifer Allora and Guillermo Calzadilla’s exhibition “Antille” examined the transatlantic ties that inspired French Surrealists. The installation Graft, 2021, blanketed the gallery floor with thousands of handpainted flowers, cast from recycled polyvinyl and modeled after the blooms of roble trees. Their pale crepuscular pink struck a sharp contrast to the high-noon yellow