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NATHAN HYLDEN

FOR HIS DEBUT SOLO EXHIBITION at Richard Telles Fine Art in Los Angeles this past spring, the LA-based artist Nathan Hylden situated a tidy stack of 11 x 8 1⁄2–inch, perfect-bound and editioned books on the floor by the gallery’s entryway. Free for the taking (and quickly snapped up), each volume was filled with nearly cinematic sequences of evenly spaced, if slightly wonky, fields of black diagonals appearing on lengthy passages of black, then white, paper—with individual lines becoming off-kilter, occasionally overlapping to the point of visual obliteration, as one flipped through the pages. In fact, the interior of the book might have looked like a printer’s error—devoid of text and outfitted with a plain, matte-black cover—if it hadn’t paired so perfectly with a small (29 x 23–inch) painting of black diagonals atop a black ground hanging directly above the ephemeral stack. The lines

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