For the past thirty years, Michael Snow has adopted diverse media to dissect the mechanisms of the perceptual process. This newest group of paintings reflects ironically on the conventions of the medium. Absent is the influence of the camera (Snow is known first as an experimental filmmaker); this time he is approaching painting on its own terms—as a practice implicitly freighted with a set of historical conditions that preface our reading of individual works.

Snow uses the methodological conventions of pointillism and realism in order to undermine their pretensions of historical significance.