The fall-winter gallery season was the proverbial embarrassment of riches, at least for those of us who admire paintings and sculptures that are more about the expressive potential of the visible than about readily articulated verbal “concepts.” Exhibitions ranging from inventively recorded perceptions of the world around us to free-wheeling abstractions, from exquisitely refined investigations of painting languages to robust sculptures, from traditionally presented landscapes to aggressively shaped disquisitions on vernacular culture filled the galleries. And that’s not to forget some stunning drawing exhibitions, including a dazzling retrospective of works on paper by a Renaissance giant.