The sexually suffused paintings of German artist Johannes Kahrs come with an unsettling violent undertone. Like other photo-based painters, such as Gerhard Richter, Marlene Dumas and Luc Tuymans, Kahrs’ methodology deals with figurative subject matter overlaid with a haze of ambiguity. Like his European compatriots, Kahrs works within the deceptive domain of memory and estrangement. His works invite multiple readings and challenge a restaging of events that is based solely on the individual cognizance of the viewer. At Luhring Augustine through April 22.