Los Angeles

View of “Martin Basher,” 2015.

View of “Martin Basher,” 2015.

Martin Basher

Anat Ebgi

View of “Martin Basher,” 2015.

For his first solo show in Los Angeles, “A Guide to Benefits,” Martin Basher hewed to the patterned paintings for which he is best known and also to the critical frame—the visual culture of consumption—that motivates them. The artist’s now-trademark panels, their vertical stripes standardized at uniform intervals, circled the walls of the two rooms, effecting an environment of superfluity—albeit an excess undercut by the differences between the compositions. Some stripes were painted in oil and enamel on canvas and some on tape layered on cardboard; whether a ground of corrugated paper or textile, the regulated palette comprised blacks, whites, grays, and oranges. All but one small image of a handshake isolated in a tightly cropped frame (Untitled [shaky hands], 2010–15) featured a gradation from lower left to upper right playing across the vertical poles. While

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