Nancy Chunn, Michael Corris, and Olivier Mosset are each approaching what is commonly called mid-career. Chunn and Mosset have been painters since the late 1960s, while Corris has been a bit more typical of the decade past-his work included here is a serious though equally tongue-in-cheek “mid-career retrospective” which has assumed the form of the moment-painting-in a humorously, critical fashion (prior to this, Corris has been best known for a series of politically charged textual works, including a group of posters and postcards with subjects like “Logo for the Confused” and “Logo for the Dispossessed”). Not one of these three artists, however, buys into the myths of transcendence or redemption that currently inform painterly practice (though certainly we are reminded of Barnett Newman’s “sublime” fields of color when confronted by the monochromes ofMosset). On the contrary, the challenge has been to divest, without de-valuing, the act of painting from its mythos of heroism, so that painting can become a vehicle, like any other aesthetic vehicle, of rhetorical experience-an experience that will speak to more than personal fantasy or expressionistic ego.