It would be fair to call Jon Axelrod’s paintings synesthetic. They are, after all, visual representations of sound. However, these aren’t the idiosyncratic cross-sense connections of an unfettered mind. His is a willful synesthesia. Axelrod uses science and math to reveal relationships between color, shape and sound. He finds kinship, for example, in the frequency of high-pitched tones and the high-frequency wavelengths of blues and violets.
“Roy Lichtenstein: The Black-and-White Drawings, 1961-1968” opens and closes, quite fittingly, with doors. “Knock Knock,” a 1961 drawing, greets visitors entering the single-room exhibition. The title words splay from an all-white door, its shape defined by heavy, even black lines. Short marks indicate the thwap of invisible knuckles. Later, after circling the perimeter, you step into a nook. Inside stands a real, three-dimensional door, the only remnant of Lichtenstein’s full-room installation at the 1967 Aspen Festival of Contemporary Art. Like the drawing, the door is white outlined in black, and a hand has struck, this time leaving a more phonetic NOK!! NOK!!