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If appearances are any indication, Nicolas Amoroso isn’t all that comfortable at home. “La Ciudad de la Imagen,” a show of Amoroso’s recent paintings, references not his native Mexico City but his one-time home of Buenos Aires. Wanderlust manifests itself in Amoroso’s representational works in less direct ways, as well: The artist’s throwback modernist paintings are crowded by boats, trains, terminals, and automobiles. Even technically, Amoroso seems to search abroad: Though his subject material might lead you to make comparisons to his predecessor and compatriot Diego Rivera, Amoroso’s composition borrows more from Charles Sheeler’s sharp perspective experiments. Remarkably, given that Amoroso’s using tried-and-tested formulas, his oils don’t pop: His paintings couple fauvist colors with the American modernism used to champion the automobile. But at least works such as Taxis Flowing—an interior image of a vast, vaulted car showroom, like a cathedral to the triumph of technology—manage to skirt the overt irony you’d expect in an image done in a style heavily associated with its subject. The exhibition is on view from noon to 6 p.m. Tuesday through Saturday, to Tuesday, Sept. 12, at Parish Gallery, 1054 31st St. NW. Free. (202) 944-2310. (Kriston Capps)