In March, David Brody filled the [Pierogi] space with large, colorful paintings notable for their intense, concentrated layers of attenuated brush strokes. These strange masses of paint resemble diffuse organic structures, piles of decaying trash, the imaginary doodling of a Leonardo on acid or the invented fantasy of Chinese landscape paintings. At once a contemplation on the activity of painting and an admission of its all consuming obsession. Brody’s paintings remain moving metaphors of the need to lend order and meaning to the chaos of everyday life.