Christian Bonnefoi creates large, multicolored canvases of diagonals and stripes, squiggles and turns, that are steeped in the history of abstraction and the theories that have accompanied it. Bonnefoi’s recent show, “Double Take,” concentrated on paintings from 1974 to 1980, with just six later works, and was curated by Sylvie Turpin, who has long collaborated with the artist. In many of them, large canvases are stretched across metal or wooden frames, which remain visible through the gauzy muslin that Bonnefoi characteristically usesan extremely delicate material called tarlatan. He paints on either the front or the back, or leaves it as is. The effect is one of sheer vulnerability: The paintings, though sturdy in terms of balanced composition and thick lines or twists of paint, seem in danger of being snagged or punctured by errant elbows. And the thinness of the material
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