Los Angeles

Allison Miller

ACME.

As the recent “Société Anonyme” exhibition at UCLA’s Hammer Museum helpfully reminded us, painterly pluralism is nothing new. But for all its diversity, avant-garde modernism was largely predicated on imperatives, on overturning old paradigms for something more visionary—whether futurism or Fauvism, Surrealism or geometric abstraction. I must admit I often get a little perplexed about what the imperatives might be for contemporary painting, beyond the laws of supply and demand, and the speculative whims of fashion.

But while I wait for an imperative to emerge, I’m willing to settle for some simple painterly intelligence that requires the viewer to slow down and, well, look. In her solo gallery debut, Allison Miller presented six playful, mildly eccentric abstract paintings on board, each measuring four by five feet or vice versa. Despite their size, these paintings are modest proposals. At

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