At first glance, the central figures who populate the eight paintings that make up Tamara Gonzales’s third one-person exhibition at this gallery seem to conjure memories of the Neo-Primitivist wing of the 1980s Expressionist painting revival, when such artists as Keith Haring and A.R. Penck freely brought angst and whimsy to their re-working of figuration derived from cave paintings and tribal art. Despite their quite different starting points, by today’s guidelines both Penck and Haring could be labeled as cultural appropriationists, since their wholesale sampling of non-Western motifs was not only unacknowledged as such, but served, somewhat perversely, to underscore both artists’ claims of stylistic innovation.