The New Yorker on our going Cecily Brown exhibition: "The London-born, New York-based painter’s bright and turbulent works on paper, installed on petal-pink walls, might be the season’s sexiest show. Paper—casual, abundant, flirtatious—feels like the perfect material for Brown’s whirlwind of deconstruction, synthesis, and expression. (Kudos to the curator Claire Gilman for her smart selection of works.) From afar, the larger pieces look very Ab Ex-y. They do up close, too, except for small moments in which something recognizable emerges from Brown’s swarms of gestures. Using watercolor, oil, pastel, ink, and ballpoint pen, Brown produces spare, lacy works as well as crowded, hazy compositions layered with appropriations. In “Combing the Hair (Beach),” from 2015, we spot scribbly echoes of Degas’s voyeuristic portraits of women grooming. Other allusions include nineteenth-century eroticism, the busy scenes of Bruegel and Bosch, and animals from antique bestiaries. The gatefold nudes of ...