The art of Anna Weyant seems to settle nowhere. Its frame of reference moves from Baroque to Pop, and its subjects are neither quite in the ordinary world nor in a dream. Her work echoes the project of John Currin, another Gagosian painter who blends Baroque motifs—the fluorescent chiaroscuro of Caravaggio—with the exaggerations of modern, often male, representations of the female form, like those of Diego Rivera or even Robert Crumb. In Madrid, Weyant is now receiving her first solo exhibition in a museum. Curated by Guillermo Solana, the show features 20 of Weyant’s recent paintings, as well as a selection of works from the Thyssen collections that represent the periods from which Weyant draws inspiration. —Jimmy Lux Fox