New York

Terry Winters

Matthew Marks Gallery

I was always a dissenter when it came to Terry Winters’ early work, unwilling to accept that his collections of bravura incident constituted paintings. Apparently owning up to the structural bagginess of his previous efforts, Winters has cleared away the organic imagery—those squishy protozoa that floated around the canvases—and set to work reconstructing pictorial space—rejoining, in other words, Modernist abstraction’s project of turning space into its own image.

In these paintings a multilayered space is woven out of three linear structures: grids, arcs, and diagonals. The resulting configuration contains no end of opposites: orthodox Modernist flatness and perspectival recession, architectural and organic structure, anthropocentric concentricity and Cartesian homogeneity. The expanse of each painting is fundamentally open and allover despite the tendency toward greater density near the

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