New York

David Reed

The Clocktower

Art now is problematic—silence is not a response. More and more it exists as its own question; it points to itself and asks what, how, and why—but mutely. I thought that questions of good and bad were often beside the point, that even a bad work could be a good specimen (if not good art). Such sociological criticism, if done first, now seems an evasion. A critic is first a critic of an art object and only then a pathologist of culture. He must look, then pick, then argue. So to dismiss making judgments is not radical: nothing is transvalued; one is only deceived. I prefer, of course, to speak of the successful, but often one must proceed negatively. Excuse me these pedestrian thoughts but the following reviews ask for such an explanation.

A reproduction of a single DAVID REED work is sufficient representation of most. The paintings, in one to five panels, are divided into at least

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