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In dual exhibition dubbed “Sweather,” the artists entertain a childlike curiosity tempered by genuine chops. Belott presents large-scale abstract paintings — ordered fields of colored dots and the occasional snaking curve of squirted-from-the-tube pigment, arrayed on a ground of simple construction paper. Simonini’s contributions are equally vibrant, hinting more at landscapes and dreamscapes. (Fun fact: Many of them were painted using his feet.) In the back room, works on paper by both artists show a different side: Simonini’s images here are monochromatic and literally ghost-haunted; Belott’s are Dieter Roth-inspired mustard-on-paper sketches of cats, calculators, and other things, sure to bring delight to uptight conservators for years to come.