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View of “Sean Kennedy,” 2013. From top: Untitled, 2013; Untitled, 2013.

Sean Kennedy

Thomas Duncan Gallery

View of “Sean Kennedy,” 2013. From top: Untitled, 2013; Untitled, 2013.

Sean Kennedy Thomas Duncan Gallery For his second show at Thomas Duncan Gallery, Sean Kennedy abandoned the hanging wood-and-Plexiglas boxes that dominated his first solo presentation in the same space. Those 2012 pieces—dangling platforms that reveal, from below, tableaux of everyday objects arranged by the artist—addressed themselves to the ceiling and the floor, rather than projecting out from the wall or standing on a pedestal. These works maintain irresolution, hovering between image and object, and they occupy space uncertainly, always one jostle away from disarray or total disaster. (Their components, so carefully parked, are not tacked down.) Not so for Kennedy’s new series of so-called graphic paintings, which use similar Plexiglas frames but flip them so that they hang like conventional panel paintings. Their contents remain securely in place, thanks to Kennedy’s

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