The five paintings and three watercolors in this exhibition showed that Malcolm Morley has come a long way from his “Hyper-Real” paintings of the ’70s. Those works, for which he is justly famous, uncannily foreshadowed the postmodern problematization of painting. In 1970’s Race Track, for instance, Morley meticulously rendered a picture postcard of the horse oval in Durban, South Africa. When he canceled the image by painting a large red X through it, he both turned the work into a political statement and reversed the artist’s traditional role from creating images of reality to critiquing those