The New York Times, Friday July 3, 1998
BY HOLLAND COTTER

This attractive show deals, as its title suggests, with notions of serial progression, mutability and the shifting pull of moods. The senior artist is Ross Bleckner, with six close-up photographs of a nude body. The shots are anatomically so intimate that they look like extraterrestrial terrain, and they have clear connections to the ideas of change and mortality in Mr. Bleckner's paintings.

The young Colombian-born artist Juan Gomez offers a big, gestural grid painting, dark and romantic, somewhat in the vein of Louise Fishman's work. Five little circular pieces by Heather Brady carry images of constellations stitched in white thread on a painted blue ground. Erik Hanson's blurry photos could be of distant nebulae, but they're intended to be pictures of scents of commercial perfumes. The artist unstoppers a bottle of ''Patou,'' for example, and snaps away.

George Perkins photographs himself at home with his parents and siblings, with results that look like very cleaned-up Richard Billinghams. They're interesting pictures, not just for their emotional currents, but also for their witty references to art history (Rodin's ''Thinker,'' for example) and classical myth. Finally, Moyra Davey's installation of 30 snapshot-size pictures of empty liquor bottles suggests both Giorgio Morandi still lifes and lunacy of a chemically induced kind. Ms. Davey, like the other artists in the show, avoids landing hard on any particular target, and her piece makes an apt addition to a suggestive mix.