“[I]n art school, you're told, well, don't put anything in the middle,” said painter Deborah Remington in a 1973 interview. “I put everything I wanted smack in the middle.” Then, she added, she would “attempt to make it look like it wasn't in the middle.” Many of the paintings in her show at Parrasch Heijnen have objects in the center: the glowing, floating grate in Soot Series 2 or the explosive red and purple clouds in Kennett I. This approach reads as brazen, and the work has an infectious confidence and a sci-fi sensibility, like it's depicting catastrophes or equipment from a machine-made future. But none of the work is perfectly symmetrical. Remington, who spent much of her career in San Francisco and died in 2010, always found a way to throw things off-kilter. For instance, a crystal shape juts out like a rocket from the right-hand corner of certain of her "Adelphi" drawings.