new-york

Wallace & Donohue

Postmasters

Gallery hopping these days can be a little like trying to watch the scrambled signal of a cable-movie channel; the fragments are too distorted in themselves to hold one’s attention, and what they add up to is probably fairly banal anyway. So Joan Wallace and Geralyn Donohue’s highly theatrical and rather fun-loving display of self-critiquing abstract wall constructions seemed to be exceptional—if only by virtue of the fact that it took certain viewers’ suspicions about current art into account.

What they showed here were seven large works, queer combinations of paintings, wooden frameworks, and a variety of gadgets, all from 1988. In each work, one or more “Minimalist” canvases were mounted on or in simple structures made of plywood and wooden two-by-fours that referenced a number of models, from Donald Judd’s boxes to children’s tree-house platforms and unstained wood furniture. Wallace’s

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