New York

Paula Wilson


The painted, printed, and collaged pictorial extravaganzas that Paula Wilson presented in her first solo show in New York just won’t stop moving. They give the impression, rightly or wrongly, of having been produced in a kind of controlled frenzy. And since the exhibition itself, “The Stained Glass Ceiling,” was jam-packed with twenty-one works of diverse kinds and scale, most of them brilliantly and copiously colored as well as materially complex and dense with sensations, one’s first impression might have been that it could only be seen in a frenzy, by bouncing around from one striking detail to the next.

This impression was to be firmly resisted, at least if Wilson’s control over her materials and over the formal structures with which she synthesized them was to reveal its salience—and if the rather jumpy and short-lived pleasures of that first view were to give way to the calmer, more

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