View of “Pamela Rosenkranz,” 2014.

View of “Pamela Rosenkranz,” 2014.

Pamela Rosenkranz

Karma International

View of “Pamela Rosenkranz,” 2014.

Eleven matte aluminum sheets were leaning against the walls of the gallery, which were covered from floor to ceiling with thin transparent plastic sheeting, making the space resemble something like a cross between a construction site and a quarantine ward. The natural light coming in through the gallery’s big display windows was rivaled by blue and red beams emanating from six projectors placed on the floor, which reflected as two differing horizontal strips on the aluminum surfaces. The sheets’ surfaces had been smeared with various fleshy hues of thin, drippy semitranslucent polyester paint that had a fast, sweaty feeling. Drops and tears of it could be found not only running down the pale metal planes as thin skins, thickening the infrathin interface of mere reflection, but scattered on the trodden, glistening layer of transparent plastic film on the floor: The paintings, it

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