Los Angeles

Lecia Dole-Recio

Richard Telles Fine Art

In her third solo exhibition at Richard Telles Fine Art—six new works, all Untitled, 2005—Lecia Dole-Recio has aggressively built upon the foundations she laid down four years ago at the same gallery. The smallest of them, about a foot square, is unquestionably the most straightforward of Dole-Recio’s works to date and served as the show’s cornerstone. A collage of relentless diagonal strips of red and black paper, which are slightly at odds with a canted grid of squares cut from and returned to the surface, it suggests the propulsive dynamism—and palette—of El Lissitzky’s “Prouns” but might also be put to good use as a No Wave album cover. It’s a good example of the way in which Dole-Recio reconfigures the DNA strands of modernism, emphasizing the “new” in “renewal.”

The diagonal, as a building block of isometric spatial plasticity, structures every work in the show. All are constructed

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