In the world of Nathan DiPietro's slyly unnerving paintings, the spatial conditions of farmland (big fields, cross-beamed barns, giant skies) are crossed with the fearful impulses of suburbia (cuteness, security, conformity). A lion and a panda sit under a perfect, round tree near a crosswalk, where a family passes by under electrical lines dotted with crows—under a perfect, round, radiating sun. The best (most complex) of these mutated idylls are made in the homey style of the 1930s American regionalists (Grant Wood, Thomas Hart Benton), but with a terrible, cold, creeping edge. (PUNCH Gallery, 119 Prefontaine Pl S, 621-1945. Noon–5 pm, free.)