Slip, 2016 oil and silkscreen on canvas 37 x 35 inches was mostly to mime her own hand on top of the printed image, reiterating her broad sweeps with more saturated hues in closely related values. As the work progressed, she played tricks with the screens – rotating, in- verting, stacking, and allowing incidents and accidents to yield unexpected structures. In the diptych Jump Cut, Moser draws atten- tion to the constructed nature of the painting by deliberately siting the boundary edges in the middle of each panel and by establishing an asymmetry suggestive of multiple views of the same subject. Thereisarestraintandausterityinmanyofthe chromatically subdued works in the exhibition despite the vivacity of Moser’s mark-making. Vertigo,oneofthreelargepaintingsfrom2017, is composed of a neighboring set of harmoni- ous hues over the translucent screened layer: tangles of darting, arcing lines in greys, pale violet and periwinkle blue. Higher Ground, on the other hand, dances with a strong comple- mentary orange pressed toward the top of a composition drifting upward and rightward, like sunlight on clouds, the grey-blue lines be- low the shady underside, floating out of our field of vision. The vibrant Tracking brings this body of work to a crescendo. Moser’s deployment of the underlying screened image appears the most unpremeditated and intuitive, the tracks of fluorescent pink and dark grey ebullient and unconstrained as she re- sponds to the shifting planes of the under- lying structure. Exploring further how the silkscreens stage the paintings, Moser puts into play more provisional marks and inci- dents that echo and animate what is fixed but instigated by the screen. In all of this work, a strategic ambiguity achieves pictorial certainty even as things are not what they seem. n Jill Weinberg Adams, New York, 2017