Missing from this 32-artist, 55-work mini-survey of contemporary human figure representations are images that idealize. Rather than heroic or beautiful, almost all the figures in ''She's Come Undone'' are grotesque, laughable, contemptible, weird or otherwise diminished. That is why the show, organized by the painter Augusto Arbizo, though lively and stylistically varied, has a monotonous feeling.What does it say about our culture that two of its most influential painters, John Currin and Lisa Yuskavage, both represented here by substantial works, have specialized in bizarrely sexualized images of women? Is psychoanalysis to blame? Did photography steal the human beauty card? Maybe it is just that a distorted human image enables freer play with abstraction, process and meaning.

See, for example, the zany, monstrous surrealistic collages of Wangechi Mutu; Naomi Fisher's lurid, expressionistic red ink drawings of women with bleeding eyes; Jeff Sonhouse's clownish dude in a pink checkered mask and an Afro made of real burned matches; and Kai Althoff's murky image of a blue-faced Jesus in Gethsemane partly obscured by rows of black thread stitched into the canvas.Pictures by Kehinde Wiley and Kurt Kauper are in idealizing modes, but Mr. Wiley's Renaissance-style profile of a man in a hooded sweatshirt is parenthetically titled ''Mugshot,'' and Mr. Kauper's confectionary portraits of famous hockey players satirize sports kitsch. Maybe the only works expressing straightforward affection for people are the 14 small, deftly made Alex Katz-style portraits of men by Ann Craven. In this context, however, it is hard not to suspect some hidden agenda.