The power of curation comes to the fore in this show, in which a portrait of Vladimir Lenin by Andy Warhol meets an impasto landscape by Li Songsong. That’s one of several provocative encounters staged by curator Xin Wang, who brings the Hill Art Foundation collection into dialogue with work by contemporary artists, including Zhao Yao and Lu Yang, for a richer view of Chinese art through global, technological, and geopolitical lenses.

Everywhere, Dash leverages the poetry of uncertain scale. The textures the artist achieves by layering silk-screened ink and squeegeed acrylic bear the fractal, metonymic quality of patterns found in nature: a flaked edge of pigment might be a whitecap, a mountain range, or a mote of dust. To follow this line of visual pleasure is to appreciate the materials’ atavistic return to their natural origins in ground, fields, and riverbeds. It’s a vertiginous reversal, a zooming-out from the level of the human skin to the quasi-cosmic proportions of Land art. The exhibition’s politics are worn loosely, but they clearly issue from the empathy implied in this telescoping effect: body to land and back again.