Ed Moses’ natural affinity to Minimalist orthodoxy has rarely been more evident than in the ten new paintings shown here. Nor have the results of his devotion to reductive painting ever been better. Moses’ pursuit of an irreducibly abstract image has been awkwardly out of sync with the wider development of abstract painting during the last ten years. Until now I thought he was beating a dead horse. But it seems that the single-mindedness behind his work allowed for a degree of ahistorical insouciance. His work is distinguished as much by its ascetic rigor (by California standards), as by its