In Jim Nutt’s work, the unruliness of the human form is front and center—pimples erupt, sweat splashes off, and hairs sprout like a crop of microgreens. Yet the vulgarity in his images, from their gory details to their locker-room humor, is always offset by the artist’s technical prowess. Every one of Nutt’s compositions is planned with the utmost care. For example, in his formative early paintings on Plexiglas, Nutt worked out all of his ideas, shapes, and forms on a sheet of paper the same size as the final work. He then taped the paper onto one side of the Plexiglas and, looking through its transparent surface, painted the lines and colors of the sketch on the other side. By the 1990s, Nutt’s cartoonish early work would move toward Renaissance-esque portraiture. Painted on canvas or wood, blackened noses, tumorous growths, and skin diseases afflict the faces of men and women with intelligent eyes and fanciful updos. Each sitter features the pose and demeanor of bygone aristocrats, yet suffers illnesses worthy of any medical journal, all depicted in the subtlest of hues.