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INTO THE RAINBOW.

The New Yorker

| June 03, 2002 | Schjeldahl, Peter | COPYRIGHT 2002 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Abstract painting used to be the prow of art history. Now it is a field of special, refined, even snooty taste, like serious jazz. The big values that it once represented, such as the symbolizing of up-to-date consciousness, aren't exactly debunked, but they've become worn smooth from use. Current abstract painting must tout small values--freshness, finesse--merely to stay interesting. Because no major new idea has informed the genre for decades, most abstract painters can't help reshuffling the terms of modern paradigms, from Kandinsky and Mondrian to Pollock, de Kooning, and the early Frank Stella. These and other signs of belatedness may be found in a grand show of new ...

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