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Gallery chronicle. (Art).(New York art exhibitions)

New Criterion

| December 01, 2002 | Kunitz, Daniel | COPYRIGHT 2002 Foundation for Cultural Review. 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

I was one of those people unself-consciously entranced by the Modern's 1993 Robert Ryman retrospective. Yes, its extremism was almost comical: having restricted his palette to white since the early sixties, he filled the museum's galleries with what seemed like countless monochrome variations, which, in the Minimalist mode, called attention to gestural marks, the materiality of the canvas and surface, the shape of the support, and at times the means by which a work attached to the wall. His microscopy might have entailed more than a little quixotic insanity, but the sonata-like sweep of the show had what I felt to be an undeniable beauty. Still, by its end, he seemed to ...

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