“Accrochage”

The rich, wide-ranging ensemble of works in this exhibition offer diverse approaches to Minimalism. Titled after the French word accrochage, which translates loosely as “collective inventory” or “visual mash-up,” the show focuses entirely on reductive art and exposes the genre as anything but myopic. The artist Tilman offers a deceptively simple monochromatic work consisting of color panels arranged in sparse wall-mounted layers; the various colors register only when viewed from askance. David Simpson presents canvases covered in iridescent pigments that evoke molten lead. Hills Snyder works with thick sheets of translucent acrylic. Lies and Whispers, 2001, comprises two die-cut and life-size silhouettes of axes, one pink and one baby blue. The forms, slyly leaning against the wall, connote implements of destruction while softening the blow, as it were, via the pastel color scheme, which references childhood gender tropes. Soledad Arias works with text scrawled in white neon; her stark verbal puns and understated comments accentuate the subtext of her pieces. Through a sophisticated handling of materials and a subtle nod to new references, such as awkward social interactions and personal baggage writ large, “Accrochage” refreshes Minimalist tendencies to heartening effect.