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Of gymnasts, the paintings lack their subject's deftness. Motion is given to a square smear. Instead Mundt's exude something permanently flat, dry. A relation to their subject is ambivalent despite their load. Mundt often targets content that is full of juice, yet is left on canvas to fall apart. A gap that reviewers seem unable to fill with their own: Travis Diehl seemed to conjure the process of glaucoma's blindness; Tess Edmonson said about the film on which a painting was based: "the gallerist warned me not to watch it"; and Zoë Lescaze aptly called it "ready for viewers and critics to plot their opinions onto her body." Her body of work which fails to deliver on the subject. Failure isn't an interesting painting strategy in 2019 - we did that ten years ago - but maybe a generous read is that these aren't so much failing as crumpling, like car hitting its subject.