As one of the essayists astutely points out, he even smuggles in reference to Dutch geometric abstraction in the primary colors of the workstation.4 That one prominent art critic's review frames Marshall's retrospective as «not an appeal for progress in
race relations but a ratification of advances already made» is
somewhat bewildering in the face of this opening gambit.5 After all, both of these paintings date from the year after the 1992 acquittal of Los Angeles police officers in the beating of Rodney King and the ensuing waves of unrest.