Dana Schutz's studio, in the Gowanus area of Brooklyn, may not be as calamitously muddled as Francis Bacon's utilized to be, yet there are days when it approaches. Last July, she was making depictions for a performance appear, in the fall, at Contemporary Fine Arts, Berlin, and for the 2017 Whitney Biennial, in New York. Substantial and medium-sized canvases in differing phases of finish secured the majority of the divider space in the studio, a long, austere room that was at one time an auto-body shop, and the floor was a palimpsest of clothes, utilized paper palettes, brushes, metal tubs loaded with outdated containers of Old Holland oil paint, hued pencils and broken charcoal sticks, jars of dissolvable, spavined workmanship books, pages torn from magazines, packaged work dresses solid with paint, paper towels, a prelapsarian blast box, purge Roach Motel containers, and different flotsam and jetsam/italianska.