1994 Don't Look Now, Thread Waxing Space, New York (catalogue) Cross and Square Grids, Museum
of Modern Art, Saitama, Japan
Abstraction: A
Tradition of Collecting in Miami, Center for the Fine Arts, Miami, FL (catalogue) Das Americas, Galeria Luisa Strina, São Paulo, Brazil (catalogue) Elvis + Marilyn: 2 x Immortal, Institute
of Contemporary Art, Boston, MA (catalogue) Come dire, splendori, Pontormo Rosso Gallery, Carmignano, Italy Notational Photographs, Metro Pictures, New York Rudiments d'un musée possible, Musée d'Art Contemporain, Geneva Le Constanti Nell» Arte, Galleria Lia Rumma, Naples (catalogue) 30 Years: Art in the Present Tense, Aldrich Museum
of Contemporary Art, Ridgefield, CT (catalogue) The Assertive Image: Artists
of the Eighties, Armand Hammer Museum and University
of California, Los Angeles The Use
of Pleasure, Terrain Gallery, San Francisco, CA (curated by Robert Nickas) Punishment + Decoration, Hohenthal und Bergen, Cologne, Germany Katarina Fritsch, Peter Halley, Hubert Kiecol, Imi Knoebel, Sherrie Levine, Richard Prince, Jablonka Galerie, Berlin
In Slightly Ajar, her second exhibition with the gallery, Sharon Lawless continues to use found materials — discarded packaging, paint samples, wrapping paper and altered pages from auction catalogs — in her manipulation
of two
modern traditions, collage and geometric
abstraction as she explores the tension between accident and control and how this tension effects perception.
Hans - Ju ̈rgen Hafner, 2016 commented: The impressive thing about Rainer is how unconventional, and above all how quickly he covers the scope
of what is possible in painting, and reorganises it for himself alongside local
tradition and connection with the international
Modern Movement, anti-academicism and outsiderhood, pictorial symbol and the act
of painting, conceptualisation and phenomenology, surrealism and
abstraction»
«Inventing
Abstraction» is so forcefully, lucidly, and persuasively wrongheaded that it achieves its own kind
of intellectual glory, instantly recognizable as the latest in a great Museum
of Modern Art
tradition of shows that make arguments that practically beg to be contradicted.