Long dedicated to the (supposedly) forthright language of geometric abstraction, Moshe Elimelech has recently added an aspect of illusion to his method. Stylistically and historically it is not a great leap for Elimelech: the brightly colored cubiforms that dominated his earlier two- and three-dimensional works recur now, albeit in a whole new way. What has changed markedly -- expanded, really -- is Elimelech’s philosophy of perception. Where once he fabricated structures of dependable fixity, now he renders things and even spaces in a visual fiction, in some sort of not-there there that occupies the alternate optical field artistic media, from painting to cinema, can provide. His paintings are no longer simply emblems, they are apparent objects, and even places.