new-york

Martin Barré, 91— 120 x 160—D, 1991, acrylic on canvas, 47 1/4 x 63". From the series “91,” 1991.

Martin Barré

Andrew Kreps Gallery

Martin Barré, 91— 120 x 160—D, 1991, acrylic on canvas, 47 1/4 x 63". From the series “91,” 1991.

Given that he has achieved a near cultish following, and that his influence resonates so decisively across contemporary abstract painting (from the work of Cheyney Thompson and Blake Rayne to that of Wade Guyton and Rebecca Quaytman, among others), it comes as a surprise to learn that Martin Barré had only one US solo exhibition in his lifetime. In fact, it was not until roughly a decade after his death, in 1993, that his work began regularly appearing in group shows in the States, a shift accompanied, more broadly, by a groundswell of interest in his singular experiment with anticompositional strategies and the nature of mark-making, the latter distinguished by his systematic deployment of the paint tube and the spray gun, and his eventual return to the customary implement of the brush. Since his practice is obliquely positioned relative to that of his peers—whether the

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