The allure of the monochromatic.

Well, yes, of course, it’s like the wish to say something so completely that the entire continent of saying can be left forever. And these big red paintings, marked in red (with one small white exception) with a kind of insignia or logo pushed at times to the edge of the field or centering it grandly, all on sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by fashion) and the lush severity and awe of Great Painting. To put it bluntly: Kim Fisher ponders whether the

Those familiar with Robert Greene’s early paintings of figures, architecture, and landscape combined in fairy-taleish scenarios would recognize a shift in the artist’s most recent abstract works. Nonetheless, these oils on panel are of a piece with Greene’s project, for whether in those previous dreamy scenes or in these new displays of color, gesture, and form, the artist reveals an impressive capacity for engaging the viewer with seductive and evocative hints of other places, times, and experiences.

The seven paintings on view (all from 1999) play a simple game with the relation between figure