In the New York Review, Jed Perl writes, “Leonardo understood painting’s artifice as predicated on the framing rectangle, precisely what Stein believed modern painting had to escape. If that leaves us with a paradox, it is one that Frank Stella has embraced with unfailing panache. In Stella, we have the curious case of an artist who merges the speculative intellectual spirit of a philosopher-painter with the aggressive muscularity of a sculptor whose taste runs to industrial-strength technologies. Stella and his interpreters have spared nothing in their efforts to make this merger look like the most natural thing in the world.”

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