Modernism was pompous; long live modernism! This is among the contradictory critical sentiments running through Thomas Schütte’s work since the early ’80s. His art, which both undermines and continues artistic traditions of the early twentieth century, grows more complicated and fascinating as he becomes even more accomplished.

On the ground floor of the recently relocated Frith Street Gallery were five large female nudes in bronze, steel, and aluminum, set atop steel tables and surrounded by a related group of delicately colored prints and beautifully rendered Nolde-esque watercolors. As with

Born in 1923, Paul Jenkins has been exhibiting his paintings regularly since his first solo show in 1954, yet in recent decades his work has mostly flown under the critical radar. Even his moment of pop-cultural notoriety, when his studio and painting method were lent to the macho but sensitive character played by Alan Bates in Paul Mazursky’s 1978 movie An Unmarried Woman, is nearly forgotten—as such moments usually are, with any luck.

One reason for this neglect may be the difficulty in categorizing Jenkins’s work, which has much in common with both the Color Field painters and the Abstract