Pat Lipsky at Elizabeth Harris Gallery

Review by David McDonald in The New Yorker, October 4, 1999

Abstract paintings by an artist who was prominent in the seventies, disappeared in the eighties, and seems to have now recovered her equilibrium. The new works are handsomely geometric, in a style that descends from Mondrian and Klee: vertical stripes of color slide past each other, changing scale and hue, as if on a mechanised loom. It’s a classic modernist idiom, handled with more zest than one has any right to expect.

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