New York

Ed Moses

André Emmerich Gallery – Uptown

Ed Moses is now painting diagonal stripes on laminated tissue paper in a way that equates the surface—pigment and rhoplex—with its support; the paper is about as thick as the painted skin it bears. Fragility, one of the most immediately apparent properties of such a work as Coyote, 1973–74, is as much a physical condition of the piece as it’s a feature attributed to it by color or line.

The physical fragility of these works seems important because of, not despite, their involvement with the terminology of ’60s modernism. Specifically, they refer to Morris Louis and to the recent work of Frank Stella. Like Louis, who identified the canvas—the literal support—with the picture plane, through stained color that uses the weave of the canvas to impose a planar simultaneity that acts against the intensive bias—toward recession and progression—of individual colors, Moses uses rhoplex to locate

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