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Heather Guertin, We Are All One, 2014, oil on canvas, 68 × 48".

Heather Guertin

Brennan & Griffin

Heather Guertin, We Are All One, 2014, oil on canvas, 68 × 48".

With “Development,” her second solo show (following in quick succession from her first, held this past January in Brooklyn), Heather Guertin confronted viewers with ten largish paintings packed into a fairly small space. The paintings are each quite specific in palette and touch, yet, united in format, they work together like a gang. In the gallery’s entryway, a lonely monitor, discreetly placed to the side, presented a story by the artist, an excerpt from a book in progress called Not Yet Titled, Cambodia (all works 2014), also published as a preface to the show’s catalogue. “In Cambodia we were looking for our own authentic modern house in the international style that was popularized by Le Corbusier,” says the tale’s narrator, “albeit one that would be crumbling and strewn with bullet holes and graffiti.”

I can’t blame Guertin for waxing ironic about the quest for the authentically

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