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The process oriented abstraction that gave us so much overwrought and gentle wallpaper whose blandness that proved its conceptualism takes itself a little less self-justifying here and more somewhere between no two Charlene von Heyl paintings looking quite the same meeting Sarah Morris's every painting looking the same in a Bernard Frieze like system where the means only somewhat justify the ends: a programmatic delivery of a consistent experiment, not inventing new processes but new designs for that product, not quite responsibility evaporated but chance fun.
