It is hard to find fault with Peter Doig. His new works, currently on view at Michael Werner, pivot around two large paintings: A study of a bather in “Red Man (Sings Calypso)” and an eerie nightscape trio in “Two Trees”. Both are exceptional. In “Red Man”, Doig centers an athletic swimmer on a beach in front of a Bacon-like metal life-guard structure. Firmly grounded, the man looks straight at the viewer, clasping his hands in front of his muscular chest, the rawness of the flesh again echoing Bacon. Doig plays with shadows to render his bather racially ambiguous. The face and chest are of a white male, yet the bottom half of the figure belongs to a black man. The clasp of the hands indicates a third, benevolent, white hand. The composition of the painting is text-book perfect. With the bather in the center, Doig divides the space into three horizontal sections; a second, purple bather in sunglasses wrestling with a large snake is off-set by the bright red-and-white buoy on the left. Step back, look again and you will find the result deeply unsettling. Peter Doig can inject a sense of unease into sunny setting where both calm and danger, reality and illusion collide in a spectacular show of artistic ingenuity. At Michael Werner through November 18.