R. H. Quaytman, Exhibition Guide, Chapter 15 (DvS 4), 2009, silk-screen ink and gesso on wood, 20 x 20".

IT IS NO COINCIDENCE that the person who makes R. H. Quaytman’s panels was formerly a collaborator of Donald Judd’s. The fastidious construction, the often dazzling optics, the play between transparency and opacity: Quaytman’s painting and the Minimalist object share much. Most of all, perhaps, they share a systematic logic in which every detail, from individual paintings and installations to their publication and distribution, is subject to careful control. And it is this relentless drive that makes one wonder about the development of this system—its contours, whence it came, and how it continues to sustain itself.

Quaytman’s recent climb has been quick. Since the artist’s earliest solo shows at Miguel Abreu Gallery and Vilma Gold in 2008, there have been ten exhibitions in five countries in less than three years, a pace that would make even the most industrious among us

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