• Los Angeles

    Billy Al Bengston’s new dentos are characteristically distant, professionally honed products, seemingly manufactured for garden-variety delectation (enjoyment, entertainment) rather than any theoretical position; the ten petite painted works and three “plain” (scratched, buffed) metal panels are comfortable in color, finish-orientation and size—but Bengston doesn’t usually work large, anyway. In the middle of everything, every time, is the central chevron, a device whose historical significance I think I understand (pioneer Pop enigma), but whose pictorial value escapes me. It’s obvious, exoteric,

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