For more than three decades, the American artist Dike Blair has dedicated himself to an increasingly rare kind of painting. It’s been overshadowed on the one hand by neo- and post-expressionist styles feigning an authenticity that doesn’t exist anymore, that’s no longer possible, and on the other hand by a post-Conceptual approach whose practitioners often act especially cool to cover up the fact that they don’t actually believe in their jaded view of their métier. Blair, by contrast, is all about painting, and about seeing. That may not sound exactly thrilling, and it’s taken critics a long