
Mary Corse
For the astrophile, it is a source of perpetual frustration that the moon looks like shit on an iPhone. For the moon, it is a source of power. The whitish stripes in Mary Corse’s minimal paintings, twelve of which comprise her second show at Lehmann Maupin, exert a similar pull: There is no one angle from which you can fix in your perception the experience of looking at a canvas and feeling it change. One moment the stripe is blank; in another moment it’s mark-ridden, dirty; in another still it’s almost silver. This whitish magic, achieved by mixing acrylic paint with the shiny glass beads used