The paintings in this exhibit are housed in custom-made self-illuminated frames. The Zach Feuer Gallery, artificially broken up into two small rooms, functions almost domestically. The walls are painted a dark green and if furniture was included one might opt to sit and stay a while. (One does miss the splendid full installation of Henning’s decor.) Paintings in this less austere environment beg the consideration of them as private objects. Form fitting function as decoration, yes, but more. Henning chooses (as is typical) a selection of motifs that, while connected to a general modernist aesthetic, are diverse enough to indicate different bodies of work. In a group show the curator allows works to communicate with one another (in this case a 'group' show by one artist), so what is the intended communication? Well, it may not be an acute point, instead it may be that one just needs to settle in and live with the work to know. Makes one want to collect art. Radical.
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