new-york

Robert Irwin

Pace Wildenstein

Grand, stately, and a little static—that is the magisterial phase that Robert Irwin’s work is going through, judging from his last two installations in PaceWildenstein’s Twenty-second Street space: the recent Red Drawing White Drawing Black Painting and, in 2006–2007, Who’s Afraid of Red Yellow and Blue3. Both involved homogenous treatments of large fields: In the earlier one, twenty-two-foot aluminum-honeycomb panels were painted with the primary colors; in the later one, two walls running nearly the length and height of the large space each got an arrangement of fluorescent light tubes. The recent show also featured three paintings, two square, one vertical, each a flawlessly slick black surface reflecting the room it faced in a dark mirror.

Irwin has used fluorescent light tubes before, not only in recent installations in Indianapolis and San Diego, to which this show directly related,

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