This work is playful because of the way the iconicity of the purity of line seems very disturbing in light of the eloquence of these pieces.

Result #1

This work is playful because of the way the iconicity of the purity of line seems very disturbing in light of the eloquence of these pieces. These pieces are, of course, very serious. They are not easy to take. But they are not easy to look at. They are not easy to be sure of. I have seen a number of people who have done them well, but they are not easy to look at. I dont think they are particularly easy to do, but they are not easy to look at. The lines are always drawn very carefully, very carefully, and the lines are very much a part of the work. They are not in the least suggestive of a formalist line, a line that is, of course, an arbitrary, not a very good formalist line. The lines are very much a part of the work, but they are not easy to look at. The lines are very carefully drawn. The lines are very carefully drawn. They are very carefully drawn. They are very carefully drawn. They are very carefully drawn. The lines are very carefully drawn. They are very carefully drawn. They are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. They are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn. The lines are very carefully drawn.

Result #2

The lines are a symbol of purity, but they also have a subversive character, in that they seem to be the poles of an invisible struggle. By placing these lines in an ambiguous relationship with the paintings, Kleist seems to be commenting on painting itself.In the end, Kleist seems to be concerned with painting as a medium of beauty, and with painting as the place where the presence of beauty is expressed. This is the work of a painter who has never been content to let go of the canvas; he has always been fascinated with the way the paint on the surface of the canvas seems to be perceived by the viewer. In this respect, Kleist creates a highly theatrical work, a kind of stage set, and it is a theatricality which is experienced as a struggle with the spectators. In the end, Kleists paintings are not about painting as such, but about painting as a medium.

Result #3

The paintings are just too obviously, and too abstractly, formal, a representation of the same thing. But this is not a matter of form for form alone, for it is the way the artist uses this form that concerns him. The paintings seem to be a kind of hymn to the formalistic abstractions of the 70s. But they are not simply a hymn to formalism. The paintings are a hymn to the formalism of the 80s. The poignancy of the paintings is that they are also a hymn to the modernist formalism of the 60s. There is a poignancy in the way the words of the hymn seem to be repeated in a few of the works—in this case, the poignancy of the end of a formalist monotony. The paintings are a hymn to modernism. They are the poignancy of the end of the modernist monotony.

Result #4

This work is playful because of the way the iconicity of the purity of line seems very disturbing in light of the eloquence of these pieces. It is a very modern, very graphic, very kinetic work. It is a very good work, but I am not sure I agree with the way it is presented. The fact is that it is a good piece, and I think its placement is appropriate. But the way it is presented is wrong. The work is displayed in a way that is too much like a post-Modernist brochure, with its own kind of information. It is a brochure with a missing page. The missing page is an icon, and the icon is a text that we are presented with, in the form of an illustration, on a separate sheet of paper. The information we are presented with is the negative of the negative of the icon, and the negative is a text that we are presented with. The problem is that the negative of the icon is not quite negative enough, and the information we are presented with is too much information. The work is too much information. The icon is too much information, and it is placed too much in the hands of the viewer. The work is too much information, and it is placed too much in the hands of the viewer. The work is too much information, and it is placed too much in the hands of the viewer. The icon is too much information, and it is placed too much in the hands of the viewer. The icon is too much information, and it is placed too much in the hands of the viewer. The icon is too much information. The information we are presented with is the negative of the negative of the icon, and the negative is a text that we are presented with, in the form of an illustration, on a separate sheet of paper. The information we are presented with is the negative of the negative of the icon, and the negative is a text that we are presented with, in the form of an illustration, on a separate sheet of paper.

Result #5

This work is playful because of the way the iconicity of the purity of line seems very disturbing in light of the eloquence of these pieces. The more a line becomes a line, the more it becomes a sign, a sign of the world, and in this sense, the more it becomes a sign of the world as well. The line becomes a sign of the line of the world, the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such. The line becomes a sign of the line of the world as such.