New York

Analia Saban, Pleated Ink (Computer Chip, TMS 1000, Texas Instrument, 1974) (detail), 2018, laser-carved paper and ink on wooden panel,  60 × 60 × 2 1⁄8". From the series “Pleated Ink,” 2016–.

Analia Saban, Pleated Ink (Computer Chip, TMS 1000, Texas Instrument, 1974) (detail), 2018, laser-carved paper and ink on wooden panel, 60 × 60 × 2 1⁄8". From the series “Pleated Ink,” 2016–.

Analia Saban

Tanya Bonakdar Gallery

Why did Analytic Cubism have to be so drab? All that black, ocher, and gray. Something about Picasso and Braque’s joint effort to pry apart the conventions of naturalist painting—linear perspective, chiaroscuro, modeling—drove them toward the dullest of hues. Analia Saban’s exhibition “Punched Card” betrayed a similar impulse. Her work waged a campaign to disarticulate painting in a muted palette of matte black and linen beige. But whereas Cubism targeted painting’s signs, Saban’s post-centennial update took aim at painting’s techniques.

The exhibition centered on two principal bodies of work. For her “Pleated Ink” series, 2016–, Saban covered shallow pools of black ink with paper templates laser-cut to match the circuitry designs of historically significant microchips, all of which were cited in the paintings’ titles, such as Pleated Ink (16K Dynamic RAM, 4116, Mostek, 1976, and

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