New York

Don Lewallen; Kes Zapkus; Robert Zakanych

O.K. Harris Gallery; Paula Cooper Gallery; Reese Palley Gallery

The historian of contemporary art must at this moment be intrigued by, if not committed to, the analysis of an evolution which is difficult to chart but which nonetheless contains numerous clues. I refer, of course, to the problem of how Minimalism became post-Minimalism. The contrast between these positions has been so often enumerated in my writing that in the context of a New York rubric these many distinctions are expendable except perhaps the one which contrasts a classicist objectified art and an expressionist atomized one.

However, by curious coincidence, several painters of distinction—granting the possibility that painting itself is still a viable act (and there are serious arguments against this kind of action at the present moment)—are currently exhibiting. What allies them is not only the external “skin” or appearance of their work, but their relationship to a structure central

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