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In her latest exhibition, what struck me immediately about Guérin’s work was that it neither looked like anyone else’s nor immediately disclosed its meaning.
Glowing with subtle gradations of color, the singular visions that Miyoko Ito (1918–1983) committed to canvas throughout the 1970s conflate interior and exterior realms, simultaneously evoking desolate vistas and sun-drenched rooms. Her improvised but methodically built-out compositions populated with archways, windows that could be mirrors, and pictures within pictures confine as often as they reflect, refract, or open onto sweeping panoramas. Untitled, 1970, embodies this confusion: One seems to look at, into, and through the depicted space. At the painting’s center is a depthless, diagonally