New York

Antero Kare

American-Scandinavian Foundation Gallery

Since the reemergence of expressionist-type figuration, pure abstract painting has been trying hard to prove it has a superior power of connotation. (The recent exhibitions by James Rosenquist, Tom Wesselmann, Roy Lichtenstein, and Jasper Johns seemed to have a similar intention, under the same duress.) The point is to prove that while the new figuration makes us conscious of something, even of the unconscious, abstract painting makes us conscious of consciousness itself. Thus Antero Kare’s assertion that an abstract painting is “a stopping place in the process of becoming,” that its “silence . . . bears the message,” and that Umberto Eco’s notion of “absent structure” is the most appropriate way of describing it. The question is whether silence—the silence T. S. Eliot and Ludwig Wittgenstein once deemed sacred by reason of its signifying the limit of discourse and assured comprehensibility—does

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