Angel Otero, Untitled (Slot Tower A), 2013
Courtesy the artist and Lehmann Maupin, New York and Hong Kong/Photo by Martin Parsekian
Angel Otero, Untitled (Slot Tower A), 2013

So it is with the artist's three abstract paintings, mute sufferers of the series of upheavals its creator puts them through. There are the free-flowing gold-tinted folds that obscure the black-and-white schematics contained within Untitled (SK-MS); the looping, chalk-like markings scratched on the melting slate of Untitled (SK-MZ); and, finally, the blood-red bandage draped over the newsprint-like background of Untitled (SK-MY)—a favorite for those who like their painterly drama rare. Each canvas combines a cool process with a hot palette, while suggesting secrets unearthed, even a Rosetta Stone for pictorial abstraction. The order and beauty found in their arrangements casts back not just to the moderns' sense of history, but to the resourcefulness of Renaissance art. Ruins are not just impediments to modern life; they can instead be ideas to build on, models to live by.

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