New York

Pam Lins

Rachel Uffner Gallery

The awkwardness involved in physically negotiating Pam Lins’s exhibition “Owl” was surely no accident, but whether knowing this made the viewing experience more fulfilling is debatable. By arranging her sculptures in a tight but multidirectional cluster, Lins made a case for active engagement but repaid the effort with an assortment of rather clumsily worked-out ideas. Shoehorning several concerns—each of them independently complex—into one basic formal unit (repeated, with variations, in close quarters), the Brooklyn-based artist communicated wide-ranging interests but did not match them with a coherent cumulative vision.

The exhibition consisted of eleven raw, variously sized, wooden pedestals, each painted on one side with vivid stripes. Atop each column is a small acrylic painting on panel, held upright by wooden supports. These simple, square compositions are not unappealing but divorced

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