New York

Jacqueline Humphries

John Good

Jacqueline Humphries’ paintings take abstraction in a direction that seems entirely opposite to that of Pat Adams. Instead of being subliminally symbolic in import—tropes for internal object relations—Humphries’ works appear to be hyperob-jectifications of the abstract, emphasizing the materiality of the painting’s surface in order to articulate, as she says,“what one can only approach and never represent.” In other words, Humphries, fashionably, wants to represent the unrepresentable; but the unrepresentable has long since become an abstract mannerism, and can be signaled by painterly procedures and formal devices. Indeed, the uniform square grid in Untitled White, 1992, makes the drippy, chance gestures seem less random than they are; even their distribution suggests an ordered chaos. Thus, Humphries’ “contemplation of [a] predicament” is more technical than “spiritual”: a

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