new-york

View of “Lucy Dodd,” 2015. From left: Pastoral Peacock, 2015; Not Yet Titled, 2015. Photo: Jenny Kim.

Lucy Dodd

David Lewis

View of “Lucy Dodd,” 2015. From left: Pastoral Peacock, 2015; Not Yet Titled, 2015. Photo: Jenny Kim.

An educational website I checked to make sure I was getting my mathematical terms straight tells me, “A trapezium is defined by the properties it does not have. It has no parallel sides.” Bingo: That’s the shape of most of the paintings in Lucy Dodd’s show “Wuv Shop.” Dating from 2014 and 2015—some made from such exotic ingredients as “Yerba mate, hematite, iron oxide, tetley’s and pigments on canvas” (Mantice, 2015)—they were installed as if by chance, leaning against the gallery walls and one another, surrounding a couple of beat-up old couches, an old-fashioned sound system with a dual cassette player set amid lots and lots of cassettes pouring out of a suitcase and scattered all over the floor, as well as various other debris and a sort of uncovered hut made of five large painted canvases, the only rectangular ones in the show.

The paintings seemed to deserve a more

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