In a press release for a 2008 show at Andrew Kreps Gallery in New York that transcended the largely gratuitous genre, Ruth Root offered a page of source images absent of any explanative text. She instead arranged thumbnails in gridded rows, their tidiness belying a capaciousness of interest, showing beachy toilet-encircling bath mats and forlorn-looking ski socks interspersed with exemplary works by Josef Albers, Lygia Clark, and Blinky Palermo, among others. All added up to her eccentrically shaped paintings: wafer-thin enamel-on-aluminum compositions of shifting color planes within extruding and sloping architectures that she mounted as closely as possible to the space’s walls. For her outing at 356 S. Mission Rd., Root made such appropriations evident within the paintings themselves (all Untitled and completed in 2017). Each work exhibited there comprised two separate but
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