"It's nauseating," remarked one viewer at Dia, eyeing the queasy undulations of a candy-colored stripe painting with barely suppressed glee. "Didn't Vasarely do stuff like that first?" queried another ambivalent admirer, equally unable to admit to a sudden infatuation with the old eye-popping art. As far as the New York art scene was concerned, British artist Bridget Riley long ago vanished into oblivion, along with Richard Anuszkiewicz, Julian Stanczak, and a hundred or so other practitioners of Op Art, some of whom hopped aboard the optical express after word got out that MOMA was seeking work for its 1965 exhibition "The Responsive Eye." Thirty-five years later, Riley alone is back in a big way. Her perfectly timed comeback at Dia, titled "Reconnaissance," has only 18 canvases, most from the '60s and '70s, and one wall work. But it's a knockout. And the queasy delight inspired by her work no longer has anything to do with a... More >>>