One of Richard Aldrich's paintings has a
certain redolence of the Philip Guston of the early»60s; Matt Connors is showing a twelve - foot - tall triptych of red, yellow and blue monochromes that can't fail to remind you of Ellsworth Kelly and Barnett Newman; Nicole Eisenman's stylized heads have discreet echoes of Paul Klee and Alexej von Jawlensky as well as of the»80s neo-Expressionists themselves; Mark Grotjahn's densely layered concatenations of shimmering, thickly textured lines recall Joseph Stella's Americanized Futurism as reinterpreted by way of Richard Pousette - Dart's hypnotic
tactility; Amy Sillman sometimes uses still life as an armature for abstraction in ways that would not have seemed alien to Hans Hofmann; Rashid Johnson and Julie Mehretu draw very different conclusions from Cy Twombly — in Johnson's case, an influence productively united with that of the matterism of»50s Europeans like Antoni Tàpies and Alberto Burri.