The title of the recent Birgir Andrésson retrospective, “As Far as the Eye Can See,” takes on a bittersweet resonance when one considers that the renowned Icelandic artist was raised by blind parents. This fact puts Andrésson’s recourse to language-based work and his heavy use of color in a different light. If Sol LeWitt, in his “Paragraphs on Conceptual Art” (1967), observed that such art should be “mentally interesting” and “emotionally dry,” Andrésson’s oeuvre proves that there is space for humor, beauty, and sentiment within it.

Curated by Robert Hobbs, “As Far as the Eye Can See” surveyed