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Interesting seeing Sharits more outré works that have been streamlined in mythos. I.e., the electric expressionism of hands and graceless feet, the appendixes smoothed from bodies of work, edited to geometric fit of iconographic film work. Sure, they’re a gauche attempts to illustrate the physicality of the filmic assaults irrupting an iridescence, onslaught visuality drawing only symbolizes, but their awkward ill-fit in art’s ever cleaner storage racks make their presence sitting outside it all the more important to against much of the tasteful sober conceptual “airtight” gloss of much of today, trying and failing.
Not even contained on Greene Naftali's representation of the artist.