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Tim Wilson’s small paintings, now at Nathalie Karg Gallery on Manhattan’s Lower East Side, offer a peculiar amalgam of quietude and foreboding, realized with a muted palette that reverberates on many other levels. In keeping with the exhibition’s title, “Between Either and Or”(which I believe misleadingly suggests a metaphorical stasis within Kierkegaard’s open dichotomy), the eighteen panels are reflections on immobility, though they easily break free from the restrictions imposed by their unusual source material: cropped sections of background staging taken from stills of fifty-year-old films. Meditations on what any of us might choose to lock our gaze upon in the midst of a passive stare, the paintings nevertheless allow for a dream-like malleability that mitigates the stiff tenor of their initial appearance.