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Pat O’Neill, Untitled (Dingo 4), 1980, gelatin silver prints, photocopies, colored paper, 10 × 33 1/2".

Pat O’Neill

Cherry and Martin

Pat O’Neill, Untitled (Dingo 4), 1980, gelatin silver prints, photocopies, colored paper, 10 × 33 1/2".

While Pat O’Neill is primarily known as an experimental filmmaker, this small retrospective, which filled two moodily lit galleries with five decades’ worth of sculptures, drawings, photographs, slides, and films, made a case for another, adjacent view of his practice—one concerned with fixed visual forms. In Untitled (Dingo 4), 1980, four identical gelatin silver prints of a dog appeared side by side, each overlain with a small photocopy that was partially obscured, in turn, by a different-colored paint chip—a frame-by-frame dissolve from color to color that recalled O’Neill’s movies. Two glossy fiberglass sculptures, White Double Sweep, 1966, and Black Sweep (1012 Pico Series), 1967, the oldest works on view, aligned O’Neill’s interests at the time with those of his Finish Fetish contemporaries; they are unremarkable except in their evident concern with motion, an É

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