Lynette Yiadom-Boakye paints people who don’t exist — composites assembled from scrapbooks, life drawings, and imagination — and titles them like a writer titles a chapter. Her invented Black subjects occupy a timeless present that could be now or a hundred years ago, refusing the specificity that would make them into social documents rather than paintings. Sheida Soleimani reconstructs her parents’ experience of exile after the 1979 Iranian Revolution by staging dense, surreal studio tableaux using archival materials and living subjects. The work doesn’t testify — it reconstructs, which is a different act entirely. And Louisa Chase, who in the early 1980s showed at the Whitney Biennial and Venice Biennale alongside Salle and Schnabel, died in 2016 without the retrospective her work deserved. This is the first major New York show of her work in 25 years. All three artists are making the same move: insisting that what didn’t make it into the official record was not absent — it was here all along. The inventory of the unseen is longer than the one we have.