New York

Win Knowlton

Bill Maynes Gallery

Since his second solo show featuring witty, Giacometti-esque floor pieces and fetishes (part of MoMA’s “Projects” series), Win Knowlton has played off the work of disparate artists—including Isamu Noguchi, David Smith, Eva Hesse, and Richard Serra—almost as if he were betting against the odds that he could keep up something distinctively “Knowlton” in his work. What can’t be shaken off turns out to be a quiet sense of humor: upending and fudging homages, Knowlton’s work seems to chuckle as much at its self-imposed game of catch-up as at the bad joke that the numbingly wide range of esthetic options in the “postmodern” era has become.

Knowlton’s most recent show amounts to yet another departure in style, but one that differs from the rest in that it falls outside his usual penchant for referencing other work and into an elegant, quietly authoritative realm of his own. Entitled trees, 1994–95,

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