• Craig Langager

    Foster/White Gallery

    Craig Langager’s 1977 solo show of abstract paintings consisted primarily of constructions of handcast cotton pulp paper, rhoplex and pigment in which the most recognizable image was that of an aerial landscape view. Rectangles with deckled edges, they also revolved around what Langager calls “atomospheric” color: sky blue, honey yellow, hazy pink. His new work shows a radical shift in color and scale. The dour, earthy palette is reminiscent of Brice Marden and certain paintings of Clyfford Still. The enlarged size sets in motion the underlying theme in Langager’s art: the relationship between

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  • Keith Beckley, Jeffrey Bishop and Norie Sato

    Linda Farris Gallery

    Norie Sato is known primarily for her video art. Featured in the Museum of Modern Art’s February Projects Video XXIV, she has included those tapes in the Linda Farris showing and accompanied them with a new suite of her nonidentical editions of prints on laminated vegetable-fiber papers.

    The prints set up random collections of tiny, sparse hand-colored dots on a gray ground. The individually applied gouache, watercolor and aluminum powder act (within a formal context) like stray electronic activity on a TV screen, and vertical lines mimic the Trinitron grid. Paused Relief, Retrace Shadows and

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