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Thomas Trosch at Fredericks & Freiser in The New Yorker

If you like Florine Stettheimer, these loosely figurative paintings are a must-see—Trosch, who works in Baltimore, has a similarly confectionery approach. In “The Kind Keeper,” his use of encaustic evokes melted birthday candles. A party is never far off; in “The Lady, the Artist, and the Octopus,” a purple sculptor shows off a green octopus to a patron in a yellow ball gown. But the show’s highlight is the back room, where several larger works from the nineteen-nineties integrate scraps of found dialogue into their surreal self-satire. In “Dorothy Rodgers’ Decorating Lesson #14,” a woman in opera gloves and an enormous hat confides in her friends, “I remain entirely untouched by what I call ‘mechanical art.’ “