Erik Parker, in his first New York show since 2005, turns to portraiture in his own exploration of the limits of recognition. Leaving aside the Rorschach-like symmetry of his earlier work, he has created large-scale portraits (most 2008-09) that are fragmented to smithereens. Our eye flickers over the jumble, sorting out the nose, locating the eyes, assembling the possible ears and tongues.



