New York

James Hyde

Paolo Baldacci Gallery

Like Donald Judd before him, James Hyde strategically shifts the terrain of painting from that of a surface (normally a rectangle) to that of a volume (that is, a box). Unlike his celebrated predecessor, Hyde seems wedded to the idea that this redefined three-dimensional thing should retain its identity as painting. His success in bringing off this revisionist recuperation of Minimalism has been dependent on his mediation of the chancy interaction between the rigidity of the box (now far more active than the mere “support” of the stretched canvas) and the fluidity of its contents. Hyde’s predilected solutions involve conjoining considerable ingenuity with impressive physicality. When the two meet effectively, the result is often a shift in perspective or a reversal of scale. But that effect often depends on the work’s interaction with its architectural environment, and in a space as imposing

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.