As suggested by the exhibition's title, Antonia Gurkovska (b. 1984, Bulgaria) presented a lexicon of painting in her first solo show, "Index." Even as she did so, however, she rejected gestural painterly idioms and adherence to the picture plane for practices decidedly three-dimensional; press materials liken Gurkovska to Lucio Fontana and Rudolf Stingel in her use of unconventional materials and methods of mark-making that rupture the paintings' surfaces to explore spatial concepts.

Balázs Kicsiny's installation "Killing Time" (2012) seems plucked from a lost Peter Greenaway film-some arch pantomime of pleasure courting death in a halted interstice of time. One enters a single, immersive installation, not unlike a movie set, via an unlit corridor filled only with the discordance of three overlapping soundtracks: the rumble of military radio transmissions, the dull thwack of thrown knives hitting a target and the clatter of dinnerware at a bustling restaurant.

Nadia Hironaka and Matthew Suib's 1967 (2011), a multichannel video installation, is a colorful and synesthetic tour-de-force work that combines borrowed and original moving images, including scenes from Godard's film La Chinoise (1967), footage of the Montreal Expo from the same year, Chinese film from the Cultural Revolution and YouTube videos of recent Arab Spring protests. Through the complex layering of images and superimposed subtitle-like text written by the artists, the piece underscores both the mechanical activities of revolutionaries and the politicized nature of mass media, conflating real and imagined events and highlighting how we see through multiple cinematic lenses.

Nearly all the paintings in this show of recent work by Geoff Hippenstiel, a Houston-based painter in his late 30s, feature a single massive shape occupying most of the available space. Depending on their contours, these forms, which are made up of countless painterly events, can read as mounds, tilted irregular planes or rough-hewn ovals suggestive of heads or stones.

The French octogenarian Jean Dupuy was an abstract painter until the mid-'60s, when he moved to New York and began pursuing technological and optical experiments and performance. In 1984 he returned to France, to a village near Nice, where, ever since, he has made paintings and objects that are often driven by language games.