Much of Robyn O’Neil’s new work focuses on the head, groups of heads to be exact — men on the move, unaware of each other or where they might be headed, faces obscured and unseeing, incapable of escaping their destiny. These drawings are, in part, an inspired reimagining of the group isolation shown in George Tooker’s painting Government Bureau, as well as the truncated repetition of bodies and body parts in Philip Guston’s Clothes Inflation Drill. Combining this anxious narrative with detailed landscape and a clear nod to medieval and Proto-Renaissance Italian painting, the artist gives us a picture of Hell tempered by a glimpse of Heaven. The Future may seem dark but there is grace in the detail. Though these heads cannot see each other, they are seen by us, and so there is kinship. They are not alone, nor are we.