Pizzaroni creates a collision of photography and painting by placing found snapshots face down on wet oils and scanning the messy, expressionistic, and chance results. The obvious, and far more elegant, precedent is Gerhard Richter’s paint-smeared photographs, but Pizzaroni’s rude exuberance can be arresting. The violence of his process is most apparent in a series of nineteen-fifties yearbook portraits that look as if they’ve been slathered in blood. More recent party pictures and figures in suburban landscapes are the basis of other images, and the frantic, even furious look of the paint that obscures them conveys a similarly unsettling sense of violation. Through Sept. 2.