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Christodoulos Panayiotou, Untitled, 2016, pseudomorph after aragonite, 18k yellow gold, 2 3/4 × 2 1/2 × 1/2".

Christodoulos Panayiotou

Rodeo

Christodoulos Panayiotou, Untitled, 2016, pseudomorph after aragonite, 18k yellow gold, 2 3/4 × 2 1/2 × 1/2".

Almost exactly a decade before Christodoulos Panayiotou opened his recent show “False Form,” the Cypriot artist convened a roundtable at the University of Oxford among an astrophysicist, a historian of antiquity, a philosopher, and an artist, Jem Finer, on the theme of absence. The antiquarian introduced negative theology as a way to think beyond reason; thus the Christian tradition, she explained, asks questions relating to what God is not.

The notable sparseness of “False Form,” with its five unwrapped panels—their gilt edges showing—stacked facing the wall protected by U-shaped foam profiles while another hung on the wall, and its small stacks of closed Samsonite boxes atop a hefty red marble table, felt conspiratorially secretive, even alienating. The inward-facing boards bespoke a bluff anti-visual conceptualism, but, looking closer, their Byzantine gilt evoked a

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