New York

Benjamin Edwards

Van Doren Waxter

Benjamin Edwards’s new paintings depict landscapes of bland contemporary architecture seen from great distances: a convenience store at the end of a landing strip, a mall across a parking lot, a condo several unbuilt lots away. All is surface: The ground is a mosaic of vectors; corporate logos, streams of numbers, letters, and unidentified shapes whoosh through the air as if on their way to complete some other building somewhere else. The architecture feels provisionally assembled rather than solidly built—there is no heft, only planes that happen to pass each other or intersect in virtual space.

The aforementioned logos hover like cartoon thought bubbles, and occasional passages of texture interrupt the paintings’ surfaces by introducing an element that’s tactile and—in such a flat, pristine world—somewhat suspect, the remains of something dirty and organic (in one painting, a small portion

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