Robert Altman’s movie “The Long Goodbye”, after a novel by Raymond Chandler, is about the fragility of things that we are told to last: friendship, love, and loyalty. In a stellar exhibition under the same title, Brooklyn-based artist Dave McDermott variously uses imagery, color and texture to hint at Altman’s elusive pursuit for truthfulness. Broad swaths of gold leaf paint figures big in McDermott’s large-scale canvases. They serve both as a contrast to the melancholy of the subject matter and as allegorical sign-posts which often occupy subjects looking for something that they can no longer recall. “The Humanist” is shown in a multi-limbed contorting spin wheel made of dark yarn, as if the modern spirit of learning is as dizzying as the attempt to keep abreast of fake news. “The Talker” takes up all the space and seems to spew non-sensical art talk, whereas “Lost at Sea” makes expert use of lacquer to show two men floating adrift in a sea of blood-red. By and large, McDermott occupies a peculiar space of wistful melancholy. That he is able work confidently in such complicated emotive territory speaks entirely to his ingenuity as an artist. At Grimm through March 12