Maureen Mullarkey reviews an exhibition of new paintings by Thornton Willis at Elizabeth Harris Gallery.  Mullarkey revokes the grid as a modernist invention rededicating it to its "ancient" roots in "town planning."  She calls Willis' exhibition "a vivid, if unpremeditated, evocation of the concerns of Russian Supremacism and its parallel movement, Constructivism. Both currents were based on geometrics; both were tethered to architecture no less than to painting."