"Also, entrances" presents a field of layered oil paint on linen in which Dashiell Manley's signature tension between control and dissolution is felt most acutely. Completed in 2018, the work belongs to a period in which Manley was pushing his practice toward compositions that resist immediate resolution, building surfaces through accumulated mark-making that rewards sustained looking. The linen ground breathes through the paint at strategic intervals, lending the work a quality of emergence, as though the image is perpetually arriving rather than having arrived. Manley, who studied at the Rhode Island School of Design and whose work has been the subject of serious institutional attention, operates in a lineage of painters engaged with the phenomenology of perception. His titles consistently function as oblique propositions rather than descriptions, and "Also, entrances" is no exception. The word "also" implies something prior, a continuation of a thought already in motion, while "entrances" hovers between noun and verb, between a threshold and the act of captivating. This linguistic instability mirrors the painted surface, where forms suggest depth and recession without committing to legibility. At 99.1 × 81.3 cm, the work occupies a scale that feels intimate without being precious, suited to a domestic or private collecting context where proximity to the surface is possible. The piece is signed and offered framed presentation is left to the acquiring collector, allowing flexibility in how the linen edges are ultimately presented. For those drawn to painting that holds its own counsel, this is a work that continues to unfold over time.