“In these days of austerity and cutbacks, the artist is saving ink.” The artist is Wade Guyton, of course, and the wry sentence (Occupy Epson?) is from the press release for his recent two-part exhibition in Zurich. Guyton’s process is now implicit—any lay student of contemporary art knows that he feeds folds of primed canvas into his taxed and sputtering Epson printers—as are the conceptual and critical implications of that process and its resulting works: painting after the fact, postindustrial manufacture of gorgeously distilled canvases offering the retro payoff that comes of