Contributed by Milan Michaud / Anna T. Gregor’s paintings, recently shown at D·D·D·D· Pictures, have a way of changing as they are pondered. Although their strategically shattered composition makes it initially unclear whether they are observational, she does paint from life, albeit by way of distorted mirrors, while also engaging with art history. Rendered in oil paint, rabbit skin glue, tempera, shellac, marble dust, metal leaf, the paintings seem to fold and bend as decorative shapes abruptly give way to convincing depth before conceding images. At that point, the historical paintings stamped into the work also become vaguely apparent. In After the Annunciation, for example, there is a graphic specter of Philip Guston’s early work Martial Memory. Both trick the eye into experiencing depth and flatness simultaneously and substantively reference transformative events.