New York

Al Taylor

Alfred Kren Gallery

Wall works, constructions that stake out a deliberately ambiguous territory between painting and sculpture, seem to be a mostly mannered genre these days, perhaps because of a virulent cultural conservatism which is impatient with cross-genre problems, or because of a simple exhaustion of interest after the heady days of the ’60s and ’70s, when such objects presented so many new possibilities. But Al Taylor’s exhibition demonstrated just how much remains to be explored in this hybrid area. Far from realigning themselves with their respective genres or retreating from conceptual confusion into gimmicky flourishes, Taylor’s objects revel in adding more perceptual twists to this already tricked-up idea, piling ambiguity on top of ambiguity What’s more, the units were presented without any of the theoretical trappings common to the genre, leaving them stripped bare of didacticism. Even more

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