Allan Wexler

Contemporary Arts Center, Cincinnati

There is a deceptive modesty about Allan Wexler’s work, seen here in a survey covering twenty-five years of the artist’s career. He has long laid claim to the diminutive with his Lilliputian-like objects, and he has confined himself to some of the most fundamental elements of our material culturethe two-by-four, the chair, the hut—coaxing from them a formal vocabulary of seemingly infinite variety. Compulsively breaking down and recombining their planar surfaces, he appears bent on releasing undiscovered dimensions of mass and volume. Wexler, one critic wrote, has sexual intercourse with the subjects of his art: Such is the intensity of his involvement that in a piece like Twelve Chairs, 1979, a grid of creamy yellow canvases bearing the pale shadows of splayed and sectioned chair parts, the reimagined chair could be the body’s supple mate.

In pairing 127 x 2”, 1997, and Drawing 2 x 4,

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