“I always had a moral sense that I need the inhabitants of a painting to be doing something, not just being,” the British artist Cecily Brown told Rachel Cusk in a 2019 New York Times Magazine article. Brown’s works have long been characterized by movement—like the stills in a flipbook animation, they capture incomplete motion. But amid the blur, there is a keen sense of familiarity. As Cusk put it, Brown’s art is “Like an explosion in a museum,” with bits of iconic works reanimated by Brown’s whirling brushstrokes. This merging of past and future—images seared into the art-historical canon upended by Brown’s aesthetic of propulsion—foregrounds this exhibition, which features recent large-scales works inspired by the Flemish master Frans Snyder, and easel-sized explorations of interiors, reminiscent of the 19th-century Belgian painters James Ensor and Xavier Mellery. —C.J.F.