This exhibition of Jill Moser’s “North Fork Drawings” (1995–96) demonstrated the choreographic fluidity of her interconnected forms and the infinite variety she coaxes from a repeated compositional structure. Rising principally from the bottom edge of the paper, the drawings resemble a succession of sinuous, budding specters. To create them, Moser alternated between dark and light lines, often with multiple re-tracings of the same or similar shapes. The nestled, vibrating images recede into and emerge from pastel-colored backgrounds. Watery blues and grays and sun-washed yellows and greens evoke the coastal region that is the series’ namesake and where much of the work was made.