The paintings are collages. Every character appears on a separate piece of canvas that has been cut out and glued to the large one. Also, most figures begin as printed (inkjet) “Hippie images” on canvas and are then sometimes — but not always — supplemented with real brush strokes and drawn lines.

You may move toward what looks like some lush bit of brushwork, and suddenly see pixels pop into focus. But no worries: Look to other paintings, and you may find the same figure as an original painted-on print , or other copies of it, but in a different size. Sometimes you’ll see large and small versions of the same figure in one painting.

You’ll never get to the bottom of the alluring confusion of photography, rephotography and hands-on painting and drawing here. But you may come away appreciating Mr. Prince’s provocative fusion of the twain of the Pictures Generation and Neo-Expressionism. And he affirms two of the Pictures Generation’s founding principles: Photographs lie, and a copy is as good as an original.

At 69, Mr. Prince is beginning what must be called his late work. A gallery handout that he may or may not have written traces the development of the “High Times” paintings, stating that as a young artist, Mr. Prince put aside some drawings of heads when he came to New York because “they were the real thing, and he didn’t want the real thing.” Now, apparently, a greater realness appeals, and he’s even glued his old drawings of heads into the de Kooning catalogs.