Cheyney Thompson

Andrew Kreps Gallery

At first glance, the paintings in “Robert Macaire Chromachromes,” Cheyney Thompson’s fourth solo show at Andrew Kreps Gallery, seemed a stock conceptual prank: thirteen linen canvases offering the painstakingly hand-rendered image, in color, of an enlarged section of their underlying fabric. A second look, however, expanded this seemingly superficial tautology. Having divided the gallery into three rooms in a way that brought to mind the spatial logic of a museum, Thompson presented a succession of historical canvas formats, each painting or diptych taking the shape and dimensions of a different canonical size. In the first room, for example, there was a polite 173⁄4-by-141⁄2-inch portrait painting, a 20-by-111-inch classical frieze (appropriately hung on the upper reaches of the gallery wall), a 44-inch Renaissance tondo, a 24-inch Constructivist square, and a pithy 24-by-1-inch

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