I was thinking recently that the most scary moment in the Haunting of Hill House wasn't so much to do with ghosts or hauntings or any sort of paranormal moments but really the people who were foreced to face the effects of even thinking a haunting was happening. It was more internal than external. I was thinking about that show when I was looking at the works of Anna Weyant for her new solo show in Paris with Gagosian, The Guitar Man. The Hitchcockian nod to Norman Bates and Psycho is evident in the House Exterior painting, but there is something more alluring and moody about the fact that there are no figures there. It's empty, a set design, a mastery in lighting. It sets the stage for what Weyant has been working on in the past and what she will work on into the future. It's about the eerieness of the dollhouse, this place that we can fill with dreams and hopes, but also the dollhouse is about limitations and being forced to make do with what you have. It seems apt, then that Weyant also paints a Looney Tunes-esque mantra over the top of a painting of flowers: that gallery notes a "mischievous doubt," on the value of the still-life genre, but maybe its a doubt on the still lifes we are given as children to play with. —Evan Pricco