Michael Jenkins’ new work once again revives the sublime abstraction of Barnett Newman and others, but replaces their spirituality with commentary on homophobic laws and attitudes. The ironic revivals of abstraction have typically shown the strain inherent in forcing a simple sign to bear a complex message. Jenkins avoids the problem by grounding both his political critique and his art-historical reference in a single “real-world” motif: the geometric metal plates installed over peepholes punched in the walls of public bathroom stalls. By repeating this motif, he creates a visual system that