reviews

Mario Yrissary and Gary Bowers

O.K. Harris Gallery

Two successive exhibitions at the O.K. Harris Gallery, one by Mario Yrissary and the other by Gary Bowers, point to the perplexities of ambitious painting which is still deeply attached to Minimalist precepts. Both artists, of highly differing sensibilities, evidence a central dilemma—the need to render coeval a loyalty to classicistic motifs with a more current taste for colorism and pictoriality, a conjunction which threatens to be counterproductive, at least insofar as Gary Bowers is concerned.

Yrisarry’s solution takes the form of literalist, golden-age Minimalism, a modular painting of striking evocativeness. Yrisarry’s sharp structures appear to refuse—on one level at least—to admit of the death of the module and of an art built upon clear unitary multiples, such as grid-or serial structures. Above all else these elements are the groundwork of Yrisarry’s painting. But his extremely

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