New York

“Color Detour”


In critic Faye Hirsch’s curatorial debut “Color Detour”—a group exhibition of paintings, prints, drawings, photographs, and sculpture—color is conspicuous by its absence. What remains are its signs, from the literal to the metaphorical. One reads a deep blush into Janice Krasnow’s white canvas, on which is printed in bold letters: “plump and fleshy/roots with pink/streaked buds.” Manuel Alvarez Bravo’s photograph of compatriot Frida Kahlo, famous for appearing in traditional Mexican dress, screams folkloric color even in vintage black and white.

The show is informed by another absence, the work that originally inspired this exhibition. As Hirsch relates in her essay, she had long admired, via reproduction, an Andy Warhol paint-by-number, Do It Yourself (Landscape), 1962. When she learned that the cost of including it would exceed her entire budget, she compromised by reproducing part of

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