The walls of Manhattan's Ferargil Galleries vibrated last week with things more colorful, more detailed, more precise and concentrated than their images would normally form in the human eye. Painter Audrey Duller Parsons, 33, had divided her second one-man show about equally between animate and inanimate objects, all of which seemed to have struck her with equal intensity. There was a broken statue with a clutter of dead fish, an antique sugar shepherdess, a dead duck. All these were painted with luscious tactile surfaces, every detail as important as every other....
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