The nine new paintings in Zak Prekop’s third solo exhibition at Shane Campbell Gallery carry on the artist’s idiosyncratic project of process-based abstraction. Notably absent were the collaged paper elements and painted references to stretcher bars that had become familiar motifs in the artist’s recent work. This is not to say that Prekop has abandoned his recto/verso investigations, however. The majority of the paintings in the show were begun by applying passages of paint to one side of the canvas—or, in most cases, muslin—which Prekop then turned over and restretched so that the