new-york

Blinky Palermo

Zwirner & Wirth

A selection of prints and multiples that Blinky Palermo made in the ’70s, on view recently at Zwirner & Wirth, demonstrated that while the artist employed heterogeneous media and processes, he consistently took as his point of departure early-twentieth-century models of abstraction. Palermo’s exploration of a range of disciplines, including sculpture and architecture, was arguably, at least as he approached it, somewhat idiosyncratic in the ’60s and ’70s, when many artists were concentrating on the refinement of highly focused practices developed within such genres and subgenres as Pop and Minimalism, Conceptualism and performance, and, latterly, neo-expressionism.

Eschewing the regressive figuration of the last category, Palermo, with his referencing of Kasimir Malevich, El Lissitzky, and Piet Mondrian, signals a contrasting renegotiation of some of the social and political questions posed

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