For over 20 years, Julian Stanczak has been meticulously exploring perceptual abstraction. The artist’s precise linear systems operate well within the rigorous Modernist limits set out by his mentor and colleague, Josef Albers. In Stanczak’s own words, Albers “taught by confrontation anxiety . . . ” When Stanczak first started exhibiting in the early ’60s, his work enjoyed a brief notoriety under the fast-to-fall star of the Op art movement, slipping into relative obscurity when the movement was discredited. This current Stanczak retrospective creates a curious bridge between two contexts: Op