David Ostrowski intends his minimalist canvases to be tabula rasae, blank slates that have not experienced outside interference. His works are dominated by white, with occasional scribbles and patches of color functioning as unruly interventions. For his ongoing series “F,” the artist works in a contrary style, rapidly effacing existing strokes and embracing marks that might be considered errors. He layers oil and lacquer on his surfaces, occasionally adding blank, collaged bits of paper. This improvisatory method and its effects recall the expressive inscriptions of Cy Twombly. Critic JJ Charlesworth has called Ostrowski’s work “endgame” painting—a process that involves discovering what marks must still be made on the canvas.