smooth foam on mug of coffee, a few small brown blobs

Result #1

, and a dozen or so memory cards, each organized by a single artist. The style of the list was a kind of blankness—no quotations, no references to previous works, no points of reference. No history, just blankness. The list, with its own meaning, was the legacy of the late 20th-century, not the past.Starkess work shows how much of a difference there is between a history of ideas and a history of knowledge, between a thing and a thought, between the ideas of an artist and the ideas of a scientist. The idea is like the idea of the map, the idea of the classroom. But the map has the power to be drawn in any direction. Starks work shows how this power can be used to create a world—a new world—of ideas, a world of ideas. His work shows how a map can be used to build a classroom. Starks work shows how ideas can be used to create a world of ideas. And, by the same token, the maps he uses to build a classroom can be used to build a world of ideas.

Result #2

smooth foam on mug of coffee, a few small brown blobs, and a few little swirls of grease and paint. The results are tight and neat but dense, a mixture of drying and finishing.Dry-Blur, 2008, a complex series of three four-part pieces, is at its most engaging when the content is not so refined. These pieces are made up of layers of wood, paper, or paperboard, arranged in a grid. Each piece is then cut and divided into three sections: a base, a top, and a bottom. The base is a kind of slab-like structure that can be stacked, one on top of another, forming a building or a niche for movement. The paperwork is a layered, painted, pliable mass that can be bent or twisted and then reassembled. In the end, Dry-Blur, 2008, is the most complex piece in the show. It consists of eight vases that span a square foot or so and are assembled on a platform. The vases are grouped in a way that seems like a puzzle, a grid, or a cube. The wood grain is more than a bit off, suggesting that the base is a kind of mass. The paperwork is not just dense, it is thick, almost like oil paint. The wood appears to have been treated in a certain way, which implies that the base is not just an external support, but that the base is a solid structure that can support and protect. The paperwork is very delicate and delicate, with the edges almost always very smooth, and the paperwork looks like it has been scraped and sanded. The vases are arranged in a grid and painted in a great many shades of brown. The paperwork is covered with little abstracted lines, often in cursive script. The paperwork is a kind of lusciously beautiful surface texture that comes from the way the paper is brushed.

Result #3

smooth foam on mug of coffee, a few small brown blobs that were, by chance, scratches on the surface of the foam, and the glossy black of the resin. As with all of the works in this exhibition, theres an astonishing amount of detail to the surfaces and forms, from the straight lines of the interior to the points of the surfaces. There is a detail that suggests that the objects may have been caught in some kind of storm; for example, the detail of a corner of the same table, or the extent of the coffee stain on a card table, is an optical illusion. The objects themselves are in a state of flux, in the midst of being made anew.A few works that were found to be deceptive also indicated that OBrien was a master of deception. In the recent one, for example, OBrien made a type of gun, similar to a pistol but with the ability to be concealed by a piece of masking tape. He placed a piece of masking tape over the top of the gun, and attached a photograph of the gun to the gun. Both of the photos show a layer of black rubber on the surface of the gun, effectively making the gun appear to be wet. The rubber was also applied to the paint on the surface of the masking tape. OBrien then concealed the rubber in a plastic bag and threw the rubber away. This trick was a clever one, but it was also an obvious deception. The rubber was hidden by the masking tape and the rubber concealed by the masking tape. The same trick is used in the other, smaller fake gun, which is also a fake gun. OBrien placed a large fake gun in the center of the gallery and then inserted a photograph of the gun into the gun. The fake gun is a perfect replica, but its creators have used it as a trapdoor to hide something. The fake gun can be used as a trapdoor to hide anything, as a bait for a trapdoor to catch something.

Result #4

smooth foam on mug of coffee, a few small brown blobs in the corner, and a faint blue dot on the bottom of the screen. The work is made from a combination of parts that you would find in a young John McLaughlin or, perhaps, in a late John Cage.McLaughlin had a few more pop paintings in the show. His most memorable was a group of large-format oil paintings, made in the late 60s and early 70s, called Eternal Leaves, which showed a slow-moving, abstract, sometimes garden-variety shape. McMahons work showed an affinity to the early 50s work of the French Impressionists, whose gesture of abstraction seemed to be a rather simple, concrete articulation of feeling, and whose abstract-expressionist, rather than decorative, mode of expression seemed to be at first to have been misunderstood by the modernist art world. His painting seemed to have been formed as a carefully chosen range of abstract and figurative elements, with a certain fondness for form that, at first glance, seemed to stand in sharp contrast to their substance. In the early 70s, McMahons style was more abstract than that of the French Impressionists; his paintings were almost entirely abstract, and the vast majority of them were quite formal. The paintings are often very loose, and are painted with a thin, clear coat of paint. In a few of them, the painterly application of paint was almost blunted by the amount of paint used; in others, the paint was applied with extreme precision. In these paintings, the effect of the paint on the canvas was less of an overall effect than of a quick, careful application of paint. McMahons paintings seem to have been influenced by his taste for detail, but he does not create any formal, pictorial or spatial illusionism. His paintings are not especially nice to look at, and they are not very good at all in any one instance.

Result #5

smooth foam on mug of coffee, a few small brown blobs caught in the beam of the lens, and a few tiny yellow lights on a wall behind the camera. These discreet details and unadulterated detail—with the exception of the thumbprint—provide a visual fingerprint for the scenes he shoots, a signature that leaves the viewer with an inkling of the moment and the way it was captured. With these images, Szapocznikow gives us a rich, personal history of his personal life. He is a man of many stripes, from the hard-edge painter who paints the backs of his canvases to the photographer who used to carry his camera on his back, to the sensitive writer and social critic who has written about him in the press, to the painter who created his first series, Untitled (Raszcieza), 1992, which in his words were an attempt to document and to give form to the fragmented and contradictory existence that surrounded him. This exhibition, Szapocznikow has called his first in a private gallery in Poland, was his first in America.Szapocznikows paintings in black and white are the result of the filmmakers use of thin, painterly strokes to mark the outlines of figures and objects. He has painted his portraits of his friends, a kind of art historical portrait, and his subjects, of course, include the presidents of Poland and of the countrys Communist regime. His black-and-white pictures are highly personal and emotionally loaded, but also free of political and ideological connotations, in a way that is at once nostalgic and tragic. Szapocznikow has said that he doesnt want to paint portraits of his friends, but he does like to paint portraits of his own personal heroes. Szapocznikow uses the gesture of painting in these paintings to mark a state of mind or a moment in time, but his paintings are never quite perfect, because he often loses the detail that makes them distinctive.