The title of Kris Hargis’ portrait show, Me and You, is apropos, given that his subjects, U.S. servicemen and women returning home from foreign combat, bear strong resemblance to Hargis’ own distinctive self-portraits. Across the body of work, he deploys his idiosyncratic technique and strong sense of line in emotionally affecting ways. Us shows a nude man standing alongside a woman who has no legs. To the Hills depicts a male figure with skeletal ribs and vaguely simian eyes, peering intently at the viewer. Hargis has a gift for betraying complex and disturbed psychologies with sensitivity and a hauntingly penetrating vision.