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How far can one ‘body of work’ be stretched? How much variation can you mix into a theme and have it still hold? This latest batch of paintings, objects, and etcetera by Whitney Claflin has me wondering about the limits of cohesion, and then on top of that, about why I (and maybe most of us) have this fussy impulse to seek out cohesion in the first place. Because here, Whitney has largely refuted the idea that things should gel. Instead, each work establishes its own orbit. It’s something like all the units in a big, old apartment building: they’re structured by the same foundations, but each …