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Terry Winters

Addison Gallery of American Art

Terry Winters’s achievement of the last ten years feels heroic in the old-fashioned sense of the word. His commitment to a grand tradition of painting superimposes a value on his work that accretes history as if its challenges demanded that a position be taken and held, whatever the cost. Yet there is also something terribly poignant about his project, as evidenced in “Terry Winters: Paintings, Drawings, Prints 1994–2004,” a survey of 160 works curated by Adam Weinberg. This poignancy has to do with the self-conscious meeting of painting and cognition. For many today it is a trope to think of these two terms as complementary, but after painting’s putative toppling by more conceptual strategies, the terms might also seem opposed. In either case, complement or contradiction is dependent on the degree to which history informs or even haunts the making of pictures. History, however, can be

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