In a shift away from her darkly disturbing caricature style of her earlier works, Tala Madani’s new paintings function first and foremost like messages from the id and remind of the narrative strategies and the cinematic manipulation of light and dark of the surrealist masterpiece “Meshes of the Afternoon (1943). Madani’s ominous settings where men are often the main protagonists encourage readings of alienation and submission. At times at the edge of getting lost into the theatrical, Madani nevertheless achieves a darkly sexualized mapping of the unconscious and is able to reveal the most intimate considerations of human behaviour. At 303 Gallery through December 15.