A long metal railing guides visitors through Nick Mauss’s third solo show at 303, winding, curving and undulating through the gallery. Titled Cafuné—a Brazilian term describing the act of running one’s hands through a lover’s hair—the 2015 steel sculpture appears like a fluidly drawn line in space. Hanging on the walls of the main room is a group of large mirrored glass works, all painted with either abstract gestural marks or loosely rendered figures. Mauss produced the largest of these—a triptych called F.S. Interval II with two wings protruding from the wall at angles—as a contribution to a retrospective of American modernist Florine Stettheimer at Munich’s Lenbachhaus in 2014. Writing in this magazine in 1980, Linda Nochlin described Stettheimer as a “Rococo subversive.” That term might equally apply to Mauss, whose shimmering works combine the pleasure of surface appearance with profound spatial transformations.