New York

Niele Toroni

Marian Goodman Gallery | New York

Since 1966, Niele Toroni’s working method—making imprints with a No. 50 brush, repeated at regular intervals across any given support—has remained constant: no alterations, no deviations, no retrospective development. Like his former collaborator Daniel Buren, Toroni’s degree-zero of painting advances only through repetition. Perpetually rehearsing its limits, painting becomes a tool for exposing the medium’s structural logic, its institutional contextualization, its architectural frame. We may feel that we know this story by now, but Toroni persists in telling it, proving us wrong with each instance of his method. “Would you waste your time,” Toroni once defensively mused, “on someone who said: ‘I’m not interested in making love; it’s always the same’? Well, that’s his business.”

Two general concerns seemed to characterize Toroni’s latest, extremely spare exhibition in New York. First,

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