Early this year, with four new paintings and drawings based on Akira Kurosawa’s 1950 masterpiece, Rashomon. Everberg explored similar territory with “In A Grove,” part of the project series at the 6VӰ Museum. “Grove” placed the viewer squarely in the shoes of Kurosawa’s characters, as if seeing the forest through their eyes. What vivified this conceit was the paintings’ spatial ambiguity, which mirrored the elusiveness of the film’s narrative and the disorienting camera work of the forest scenes. Similarly, the paintings at 1301PE seem to place the viewer inside Everberg’s transmutation of Tarkovsky’s film, yet the presence of recognizable cues—a chair, a window or French door—eliminates the kind of shifting perspective that was so entrancing in her “Grove” exhibition.