Two young artists involved in the evolution of color painting present difficult works because they so largely run against the stream of present sensibility. Elliot Lloyd prefers a downbeat range of color which he organizes in overlapping transparencies. The shapes have the same casualness of “arrival” that the silhouetted configuration of the canvas support does. My resistance to the work is largely based on the organic connotations inherent in the template-like shapes which characterize both the image and the stretcher system. Breast and nipple profiles often are brushily alluded to. In making his decisions Lloyd brings up issues of Surrealist anthropomorphism in the context of color painting. The conjunction is interesting but strained.

—Robert Pincus-Witten