Belgian painter Jan Van Imschoot’s first major retrospective—the show that should gain him the belated international recognition his work deserves—spans four decades, seven rooms, more than eighty paintings, a bar, and a small cinema. And it starts with a landscape-format painting sitting smack across the entrance. A cherub or cupid, though with no wings, painted much larger than life, reclines against an indistinct, darkly looming background. The little big fellow has apparently nodded off, his nipples, shiny belly bottom, and tiny weenie standing out like bumps and craters on the surface of a full moon. The motif and the title Amore Dormiente (2018) pay direct homage to Caravaggio’s Sleeping Cupid (1608), a small painting at home in the Uffizi. But homage immediately turns into, well, what? Parody? Grotesque exaggeration? In this adaptation, cupid’s face is wreathed by a shock of auburn hair, a rather adult skyward nose, sagging cheeks, and eyes swollen half-shut, like an old drunk’s. Instead of a bow and arrow in his left hand, in his right he holds a handwritten letter in French, signed by van Imschoot, which translates as: “Aposematism in painting: on linguistic confusions and the mimesis of lies, or the challenge of the …