Guy Goodwin has been exhibiting in New York for a little more than a decade, during which time his work has undergone radical change. From the late ’70s until the early ’80s, he applied thick layers of paint to the smooth surfaces of shaped wooden forms, which were then assembled into high-relief painting-objects. Clearly, Goodwin was being literal in his conflation of paint and the construction of painting, yet he had more in common with Milton Resnick, say, than with Frank Stella. His work of this period was both blunt and inelegant. By the mid ’80s, he was dissatisfied with insisting on

Larry Day’s paintings rely on a belief in the language of painting and the possibility that, despite its ever changing position in the contemporary art world, it may continue to speak with significance. While the viewer initially experiences a variety of architectural exteriors as the obvious subject of these paintings, it is Day’s particular sensibility taking on the tradition of painting that constitutes the real content of his work. Representation becomes a vehicle for more abstract concerns. In The Red Building, 1988, the general configuration of the exteriors—the size and scale of the parts