I find Danny Williams’ classical reworking of Cubist painting both perplexing and extremely satisfying. Seeing someone struggling with problems of interlocking triangles and planes of color, and groping with the problems of Cubist passage, I want to ask: why? Wasn’t this all resolved at least half a century ago, if not by the almighty Cézanne, Picasso, and Braque, at least by the Russian Constructivists? But these questions ultimately fall to the wayside in the face of Williams’ work. Williams is neither a neo-Cubist reflecting evidence of an earlier revolution (like Sherrie Levine), nor a naive