The “Saenredam-Sénanque” exhibition takes half its name from the 12th-century monastery of Sénanque in Provence. The monastery is almost ascetic in its architectonic structure, and its walls are unpainted and bare except for a minimum of sculptural decoration. The other part of the name comes from the 17th-century Dutch painter Pieter Jansz Saenredam, and this is the last in a series of “Saenredam” works expressing Dibbets’ thoughts on that artist. The complex but articulate structure of Saenredam’s paintings is refracted in Dibbets’ explorations of photographic space, his reconstructions of

In his recent work, Richard Long unexpectedly appears as a kind of painter. On the white walls of the gallery are huge monochrome circles, two in brownish gray and one in a warmer reddish-brown; within the circles the white wall is left visible at intervals, thus implying not only a flat ornament but also structure and depth. Long painted with his hands, dipping his fingers in mud and clay with which he then covered the walls in a tense, rhythmic motion. Because of the supple and continuous movement of his fingers, the paintings have an overall structure that is both dynamic and controlled. On