In Broken Homes, Julie Heffernan's canvases echo with whispers of the old masters — a hint of Velásquez here, Cranach and Bosch there — and yet her paintings are resolutely contemporary. In these so-called self-portraits, Heffernan appears as a languid, naked nymph sporting outsized floral headdresses or sweeping skirts bedecked with dead hares, deer, and egrets that could have been plucked from a Flemish still life. But modernity — in the shape of power lines, skyscrapers, jet planes, and urban sprawl — always threads its way into these gardens of Eden.