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Yet Alanis is far from dumb, and a case-by-case nitpicking of the lines is as micro as Socrates playing devil’s advocate in response to every little thing his students say, while the song is operating at a macro or meta level more akin to Aristotle’s notion of infinite regress.

His “Infinite Regress” paintings, however, are Ore-Giron’s best-known works.

“People love ‘Infinite Regress,’ they are gorgeous works,” says MCA curator Miranda Lash, who organized the artist’s solo show.

Look closely and this is some of what materializes in “Infinite Regress,” a series of paintings by Los Angeles artist Eamon Ore-Giron, on view through late May at the Museum of Contemporary Art Denver.

A motif of rectangles that evokes Josef Albers’s “Homage to the Square” suggests infinite regress.