“David Hilliard: Tending to Doubt.” Hilliard’s investigation of his parents’ opposing spiritual views — his dad is a “recovering Catholic” and his mom is a born-again evangelical Christian — are showcased in his quiet, painterly photo-narratives, which are designed in diptych and triptych style, as if they were the depicting the lives of the saints. In “Rouse, 2010,” a group of his mother’s friends are photographed in a prayer circle of fleecy pastel housecoats, while across the room, a coven of stern-looking women in slick raincoats seem to be preparing for a secret-society meeting (“Weather Gathering, 2010”). Hilliard’s love of theater and film are evidenced in the formality and precision of his pictures, but it’s the subtle erotic tensions rippling beneath the surface that beckon.