In his recent exhibition, Argentinian-born Fabian Marcaccio presented four major paintings and several smaller works on paper (all works 1996–97). In the larger pieces—dazzling, quirky, and highly mannered objects that he calls “paintants,” a conflation of the words “painting,” “replicant,” and “mutant” —canvas is pulled tautly over stretchers, made from irregularly shaped copper tubing, that protrude several inches from the wall. Except in the case of Paintant #3, a row of nylon cords fastens the canvas directly to the wall (and in the case of Paintant #4 to the floor as well). The results look