New York

Annette Lemieux

Kasmin | 293 Tenth Avenue

Annette Lemieux’s equivocal place among those contemporary artists drawn to reminiscence—let’s call them “nostalgics”—is far from commensurate with her prominence in what might be termed Feminist Conceptualism. This obliquity owes something to the fact that she works “off scene,” in Boston (despite her continuing New York presence in galleries of note), and also to her attraction to cryptic, elusive themes. Lemieux’s political sarcasm is masked by sweetness and reductivist abstraction, and her infinite links of insinuation are a deterrent to facile acceptance, unwanted to begin with. Her references at times seem so teasing and premeditatedly capricious as to defy comprehension. But the artist’s commitment to the bare bones of Minimalism’s rectangle, circle, and grid is rarely placed in jeopardy.

The present circumstances are no exception. “The Last Suppa,” as the recent exhibition was

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