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View of “Elizabeth Enders,” 2019–20. From left: Battle of Lepanto 1571, 2019; Untitled—Fields, 2019.

View of “Elizabeth Enders,” 2019–20. From left: Battle of Lepanto 1571, 2019; Untitled—Fields, 2019.

Elizabeth Enders

Betty Cuningham Gallery

The last battle fought almost entirely between rowing vessels occurred nearly five hundred years ago. The mechanics, not to mention horrors, of such a confrontation are nigh unimaginable today. History paintings depicting the Battle of Lepanto tend to portray its maritime setting, in the Gulf of Patras off western Greece, as stuffed full of masts, prows, flags, cannons, and oars. Little order emerges from these chaotic scenes. In “Elsewhere,” Elizabeth Enders’s exhibition at Betty Cuningham Gallery—a fantastic, transtemporal, and world-spanning journey that unfolds across twenty-one works on paper and ten paintings—the eighty-one-year-old painter, with a deft hand and unfussy form, approached the aforementioned fray like a cartographer or tactician lost in reverie. Across one oil and several watercolors based on this clash, we got an aerial view: Boats were rendered as black dashes and

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