A restless dystopian thread runs through Ashley Bickerton’s work. Not wedded to a particular genre, Bickerton moves between sculpture, photo-realistic painting, photography, and mixed media constructions. The first mid-career survey of his work, currently on view at the Flag Foundation, mimics his fretful jumpiness by forgoing a formal time or genre-based organization in favor of a carefully curated discombobulation. Yet certain key ideas emerge. The fault line lies between his twelve-year stunt in New York’s East Village art scene in the 1980s and his move, in 1993, to the island paradise of Bali. Bickerton’s earlier works show an obsessive preoccupation with logos, brand names and floatation devices which he morphs into mixed media works that feel like preparations for the end of the world. Balinese surfer life has done little to tamper his subversive spirit. Bickerton’s slyly demagogic photorealist paintings shock the art world out of pigeonholing him; his gaudy portraits of nymphs play with gender and race and are often encased in rich iconographic frames recalling deities demanding to be worshipped; and his devotion to sharks, beads, flowers and fish draw attention to his environmental concerns. Bickerton’s visual vocabulary is unlimited and his restlessness profound: a combination that makes one coming back for more. At Flag Foundation through December 16.