Chris Kline’s delicate acrylic markings are made visible only under close inspection, and, even then, are done so in a slow-revealing way. His La Manche series of acrylics on canvas draws the viewer into the experience of the effects of imprints made on canvas by a second previously stretched canvas. La Manche, French for “sleeve,” signals the painting’s play in an envelope between touch and distance, between form and genre, between material and light.