The underlying tactic shared among them is at least a partial abandonment of paint in favor of digital-based printing; as a surprisingly catchy song accompanying the animated trailer for this exhibition stresses, “brushstrokes are for snitches, brushstrokes are for bitches.” Chris Bexar’s print-on-canvas works are based on photographs of computer heat-sinks taken from odd angles, giving them the appearance of looming skyscrapers. Susie Rosmarin, who makes “geometric abstraction with a lot of optical flicker,” by Flood’s reckoning, has been supplementing her old-school, paint-by-hand process with swifter digital printing; Paul Kremer, the genius behind Great Art In Ugly Rooms, creates “paintings” that are essentially screengrabs of Google Image search results for things like “what’s great about America”; El Franco Lee II is fond of giclee reproductions of his original acrylic works, which are packaged and stacked here as if in a retail shop.