New York

Alan Cote

Reese Palley Gallery

Were the large paintings of Alan Cote first shown in 1966 or 1967, I suspect that this young artist would have been received as a figure of considerable rank. As it is, those aspects of his work which so clearly derive from middle Stella, early Poons and early Avedisian, while not exactly discrediting the present paintings, nonetheless locate them in a stream of New York taste which while still lovely, has become, at least to me, a displaced center. But the pictures are tremendously likeable. The grounds are firmly and evenly colored. Dispersed across them are sharp rod-like shapes, snip-ended, which are carefully contrasted against the ground. Because of the color contrasts, the ground functions ambiguously in space by instants, although, generally speaking, abstract illusionism is not the primary aim of these works.

The free dispersal of these shapes has a peculiar history, not only

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