New York

Joel Shapiro

Unless I am missing something, Joel Shapiro’s new little wood reliefs, like his recent largish charcoal drawings, rather leave in their dust the view that his main achievement is the inflecting of Minimalism with “memory,” thereby signaling “shift” in “modernist sensibility” to take in “the stuff of psychology.” (The terms are Rosalind Krauss’s.) Besides invoking an awfully limited notion of “the stuff of psychology”what isn’t psychological? when you come to think of it—this view has depended heavily on Shapiro’s use of recognizable images, almost entirely absent from this show. (There were six drawings manipulating a “house” schema, with an effect much more Cubistic than housey.) Phrased more modestly, in simple terms of intimacy and a “personal” feel, it is a view that might yet be stretched to cover the new work, but its very generality would still be mocked by the particularity of,

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