Amy Sillman’s work has always been about metamorphosis – the changing recognition as a figure slides back and forth from figure to abstraction, parts to whole, the accumulation of details that make a painting a painting. In her most recent work, her process is as subtractive as it is additive, approaching partially finished canvases as archaeological sites laden with potential discoveries. In excavating the picture plane, Sillman moves paint from one place to another, building up some zones while scrubbing others back down to the bare support. The result is a balance between areas of extreme effort and others of evacuated calm.