Benito Huerta

Lynn Goode Gallery

Three years ago at Houston’s Contemporary Art Museum, Benito Huerta showed semiabstract works with geopolitical overtones, which were obsessively painted and socially conscious, but dull. While he was working on that series he put aside other ideas that he felt hadn’t gelled, or didn’t fit the sequence. Huerta says his new work “is about my own ideas and their dissonant tone against my oeuvre and within its own body.” For sheer energy and imagination, this salon-style explosion of dissonant bad-boy paintings blew the “good” but boring CAM show to bits.

Huerta’s images cover the spectrum from high-Modernist abstractions to biker art, yet it is pointless to critique each painting in terms of its “genre.” Huerta has created his own genre, assimilating failure into his painterly vocabulary alongside obvious technical accomplishment. Many paintings have virtuoso passages of real imaginative

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