At first blush some of Daniel Lefcourt’s new paintings remind of the strangely idealized landscapes of Chinese Shan Shui paintings. Yet instead of brush and ink Lefcourt calls up airy mountainous topographies via numerically coded lines on stained monochrome surfaces. The confusing dynamic between numeric based science and aesthetic sublimity points to the conceptual re-presentation of the history of mapping systems. Several other pieces give his modus operandi away. In Terraform (Cloudbase) and Terraform (Soundings) the numerals appear grid-like or in configurations that beg for a game of connect the dots. Others, like Terraform (Autonomous Agents), recall geological diagrams superimposed on linear blueprints and are rendered with an airy fluidity that verges on the metaphysical. Mathematical harmony fused with geological diagramming is of course an important underpinning of painting and sculpture and, like all visual observations, deny absolute specificity which is exactly the syntax of Lefcourt’s art. At Mitchell-Innes & Nash through December 22.