As she continues to produce increasingly scrupulous work, her relationship to domestic inquiry has grown more implicit. A few years ago her paintings depicted children in dreamlike whirlwinds and still lifes of blankets and lace. More recently, she has turned her eye toward the history of craft with a series titled “Samplers,” named for the swatches of fabric traditionally embroidered by young girls learning needlepoint. Grill’s “Samplers” vibrate with crowded registers that evoke their antique counterparts; as works on paper, they are filled with shaky letters, decorative motifs, and sporadic patterns. Examples from this series were (unfortunately) not on view in Comb, her recent solo show at Soloway in Williamsburg. Instead, the show shifted focus onto the next stage of her artistic progression: a carefully plotted step toward abstraction.