These eight silkscreen prints by David Salle viewed in abstract terms the prints are airy, elegant and even pretty, in sharp contrast to the ominous chaos of their subjects: “The Drunken Chauffeur.” Each print is a horizontal rectangle divided into a grid of six equal parts. The images are figures or comic-book animals sketched with an easygoing hand, and they overlap each other and the grid in complicated ways. They change colors, for instance, when they cross the borders of the grid, and they are drawn in at least three different scales what we might call supersize (way larger than the format and visible only in fragments such as shoulder or arm), regular size (just right for heads) and small size (good for full-length figures inserted like anecdotes into the melange). All of this makes sequential reading of the images impossible, although one cannot help trying the juxtapositions are bewildering but provocative, a manic mix of men and women going through bad, confusing times. Presumably not for nothing is a revolving door featured in each of two of the prints, because the stories they tell seem to have neither beginnings nor endings. Is the artist the drunken chauffeur of the title? His tour of contemporary life in the Western world certainly is dizzying and chilling.