Brice Marden's two-gallery show—his first exhibition of new paintings in New York in five years, and his best since 1991, if not since the mid 1970s—proves once again that this artist is a special case. In a time that is skeptical of straightforward abstraction, Marden's work is widely loved. The advertisements and announcements that have, over the years, pictured him sitting on Cézanne's tomb or wielding long sticks with charcoal on the end or shown his naked wife standing among his work, whether ironic, audacious, or romantic, are intended to make us think: "Behold, the lair of the Zen cave painter, the rock-star shaman. See his muse." Contrary to most instances of self-conscious image manipulation, Marden's behavior has never obscured his accomplishments. The work and what surrounds it... More >>>