Reviews 00 Lindsay Nixon on Jessica L. Horton, Art for an Undivided Earth: The American Indian Movement Generation; Sophia Powers on India/Contemporary Photographic and New Media Art, exhibition and accompanying book; Sarah Montross on Christina Bryan Rosenberger, Drawing the Line: The Early Work of Agnes Martin, and Suzanne Hudson, Agnes Martin: Night Sea; and Ace Lehner on Alpesh Kantilal Patel, Productive Failure: Writing Queer Transnational South Asian Art Histories Hudson begins the second chapter by canvas—in Jungian terms, as a way to push Ace Lehner noting that 1963, the year Martin painted past one’s ego, the aggressive square, while Night Sea, was also crucial in the broader also submitting to its perfection. Cruising for reception of her work. Prior to this time, These two books offer compelling Antiessentialist Methods: critics were more dismissive of her work approaches to Martin’s painting with a A Queer Reworking of Art and often connected her painting to themes sophisticated integration of her biography. History of domesticity, decoration, or craft. Around Along with the recent publications by Nancy 1963, however, assessments of her work Princenthal and by Frances Morris and Alpesh Kantilal Patel. Productive start to shift; as Donald Judd wrote, “These Tiffany Bell, these books sensitively address Failure: Writing Queer Transnational paintings are much better than last year’s.” Martin’s sexuality and her personal and cre- South Asian Art Histories. Manchester, The rest of the second chapter is largely con- ative relationships, particularly with women, UK: Manchester University Press, Rethinking cerned with the effects of Martin’s “structure that impacted her career and art making. For Art’s Histories series, 2017. 272 pages, 31 of disavowal”: how she denied connection example, Rosenberger recalls how Taos and color ills., 39 b/w. $110, $29.95 paper, $14.75 to movements such as Minimalism or the Santa Fe were fertile spaces for gay, lesbian, ebook stimulus from other Coenties Slip artists and bisexual men and women, and that whom she saw daily and with whom she was their “position away from . . . patriarchal Alpesh Kantilal Patel’s Productive Failure: Writing romantically linked, such as Chyrssa. Martin’s institutions may have allowed Martin more QueerTtransnational South Asian Art Histories is more refutations extended to other readings of freedom” (Rosenberger, 51). While Martin than an art historical intervention intended her works as well, particularly their associa- remained notoriously private throughout to correct the field’s neglect of South Asian tion with nature or landscape. Late in her life her life, these new books shift interpretation art and artists. It may be true, as the author Martin stated that any connection to nature away from Martin as an isolated desert mys- suggests (7), that apart from Women, the Arts in her work was “really a response to beauty” tic. These recent monographic and biographic and Globalization: Eccentric Experience, the multiau- (Hudson, 43). Calling attention to diverse studies provide revisions and excavations of thor volume edited by Marsha Meskimmon interpretations of Martin’s paintings including Martin’s life and art that were perhaps only and Dorothy Rowe for the same series of the artist’s own, Hudson concludes that the possible in the years since the artist’s death books, Western art history has primarily artist’s highly refined abstract compositions in 2004. Through these expanded outlooks, ignored South Asian visual culture, par- heighten subjective responses within each Martin’s life and paintings persist as rich and ticularly work engaging queer and feminist viewer. While Martin’s opinions of her own changeable subjects of study. ideas.1 The chief aims of Patel’s book, how- work were very particular, the lucid precision ever, are to prompt art historians to consider of her canvases was the reason that viewers Sarah Montross earned a PhD from the Institute how these exclusions were made to begin of Fine Arts, New York University. As the Mellon have their own private and specific responses. Post-Doctoral Curatorial Fellow at the Bowdoin with, and to attend to the ways in which art Hudson’s third and final chapter returns College Museum of Art, she organized exhibitions histories are “always a product of the people us to a tighter focus on Night Sea, its material- including Past Futures: Science Fiction, Space Travel, who write them”(4). That is to say, art histo- ity and associations with water, flow, and and Post-War Art of the Americas. At deCordova rians not only bring certain objects and prac- Sculpture Park and Museum she curates exhibi- tices into view, but also frame the discourse struggle. For Hudson, control and loss hold tions and outdoor commissions including Platform in a counterbalance within this painting. The 19: Letha Wilson and Screens: Virtual Material. Her around them. Patel’s project delves into the two primary material elements—gold leaf forthcoming exhibition Visionary New England nuances of the methodological shortcomings and blue paint—evoke intangible flux and (Spring 2020) explores spiritual, mystical, and of canonical art history and works to dis- celestial, infinite depths. Gold leaf is an earthly utopian practices since the 1840s and their impact mantle the exclusionary practices that have on contemporary art. ore that can reflect and refract light, making resulted in the marginalization of various evident the passage of time. Hudson similarly 1. These include Nancy Princenthal, Agnes Martin: constituencies. He argues it is imperative for explores the possibilities of the ultramarine Her Life and Art (New York: Thames and Hudson, scholars to reflect on our methods, invest- blue of the painting, drawing connections to 2015), as well as a major retrospective of her ments, and blind spots. Engaging situated work organized by the Tate Modern that traveled viewing and critical self-reflection, Patel’s its symbolism in Renaissance painting, but to the Los Angeles County Museum of Art and also establishing a connection of the color Solomon R. Guggenheim Museum, New York; text models an interdisciplinary praxis that blue with Leonore Tawney, with whom Martin see Agnes Martin, ed. Frances Morris and Tiffany challenges the limiting and often problem- was intimate at this time. In her final pas- Bell, exh. cat. (London: Tate Publishing, 2015). atic practices entrenched in traditional ways sages on Night Sea, Hudson brings attention to Bell also edited the first volume of Martin’s digital of writing art history. catalogue raisonné for Artifex Press, released in the painting’s title, drawing out associations 2017; see https://artifexpress.com/catalogues/ Patel’s book builds on a lineage of art to archetypal night sea journeys, from Hades agnes-martin/description, as of November 9, historical and visual studies interventions to Moby Dick. Hudson reminds us that Martin 2018. These examinations of Martin’s work coin- made by scholars committed to rethinking was part of the postwar generation of Abstract cided with broader reappraisals of mid-century art history. His insights are refreshing and abstraction and the contributions of women necessary, and engage a growing schol- Expressionists that favored models of the col- artists, such as the 2016 exhibitions Women of lective unconscious. In specific, Hudson aligns Abstract Expressionism, organized by the Denver arly movement invested in identity-based Martin’s modernist composition of Night Art Museum, and Revolution in the Making: concerns, without falling into outmoded, Sea—the softly repeating elongated rectangles Abstract Sculpture by Women, 1947–2016, organized essentialist ideas about identity and canon in contrast to the equilibrium of the square by Hauser and Wirth Gallery, Los Angeles.

122 winter 2018 formation. Rejecting methods that claim conservative notions of disciplinary appro- Orientalist overtones” (27). For example, objectivity in service of veiling authors’ priateness. In contrast, the author proposes he cites Martin Kunz’s introductory essay vested interests in maintaining exclusions a progressive countermethodology that is to the 1982 exhibition catalogue for British and inequities, Patel’s project models an antihierarchical and interdisciplinary at its Sculpture Now at the Kunstmuseum Luzern, alternative praxis of art history vigilantly core. Simultaneously, Patel’s methodology Switzerland, wherein Kunz framed Kapoor’s attending to the legacy of colonial expansion, builds on the work of Mieke Bal, who has work as geographically and conceptually Caucasian supremacy, heteropatriarchy, and urged scholars to allow the object of analysis outside contemporary British sculpture. He essentialist, elitist attitudes enmeshed with observes how the critic Richard Shone’s traditional art history. He proposes that art deployment of the term “exotic” in his history be viewed as constructed. For Patel, review of a 1986 British sculpture show read art history is a practice that should promote as though he were describing both Kapoor a nuanced, critical self-reflection and trans- and his work. Patel argues that the growing parency around authors’ political, corporeal, interest in hybridity in the art world of the and ideologically framed investments. The 1990s sutured Kapoor’s identity as British- project intends to raise scholarly aware- Asian and framed his work as reworking ness about the ways meaning is produced modernism.5 In addition, Patel mentions via a highly specific encounter between the that Thomas McEvilley described Kapoor’s scholar and object, arguing that thorough work as “incorporating” India in a way that self-contextualization (on the part of the art gave voice to new “British cultural identity” historian) is critically necessary. (28, emphasis in orig.). Patel rounds out As the apt title suggests, the methods by the discussion of the discursive formation which Patel produces South Asian art histo- of Kapoor and his oeuvre, observing that by ries are intimately bound up with queer fail- 2010 when India had become recognized as ure. The notion of queer failure was perhaps culturally and artistically significant “Kapoor most notably discussed in the book The Queer and his works were Indian (again)” (32). Art of Failure, wherein J. Halberstam explores Chapter 3 critically unpacks paintings the concept as a means of intentionally by Cy Twombly and Natvar Bhavsar to con- rejecting heteronormative hierarchies, sider how art historical canon formations in modes of assessment, and normative ways of to coconstitute the method of analysis and Western modernism (and after) have been being in favor of queer, perverse, hybrid, and to be vigilant of our blind spots, so as not tightly bound up with the articulation of nar- marginalized forms.2 Failure in this sense to replicate the shortcoming of art history’s rowly prescribed nationalist ideals. Beyond does not refer to an inability to perform suc- outmoded methods.4 Cruising enables Patel bringing these artists together to undo cessfully, but instead is a deliberate rejection to move across objects, places, and methods essentialist ideas about who belongs in a text of normative structures and rules. Taking the of analysis and facilitates the coexistence of on South Asian art, Patel invokes this com- expansive notion of queer failure and apply- what, on the surface, may seem like radically parison to underscore how the biases of art ing it to South Asian art and culture, Patel’s different objects of study under the heading historians and critics circumscribe the canon work deftly jettisons rigid, established struc- of South Asian art histories. of art history. Contemporaries, Bhavsar and tures and siloed identity categories in favor Patel’s first chapter builds on the work Twombly were both included in the influen- of rethinking how we define both South of Paul Gilroy, arguing that identity is not tial Whitney Museum annual exhibition of Asian constituencies and art history. “tethered” to “notions of ethnicity or 1969. 6 Significantly, however, Patel observes Patel proposes and models “cruising” nationalism” (3). Rather, he proposes that that while neither artist’s oeuvre fits neatly as a method by which to rework tradi- identity is always contingent and always in into dominant art movements of the post- tional art historical methods. The concept flux—framing the scope of his project via war decades, Twombly’s work is now firmly of cruising in queer discourse necessarily the notion of “creolizing” the South Asian planted in the canon of art history, while invokes José Esteban Muñoz’s influential text as a flexible, transnational approach. He Bhavsar’s is not. Patel takes issue with how Cruising Utopia: The Then and There of Queer Futurity, also posits his indebtedness to Amelia Jones Clement Greenberg’s “formalist approach” wherein Muñoz suggests queerness will and Andrew Stephenson, in particular, their “veiled” his “interestedness” in what he pro- and should loom forever on the horizon to conceptualization of art history as perfor- moted (4). Arguing that it is due to Bhavsar’s prompt us to strive toward it in perpetuity.3 mative (4). Building on Michel Foucault’s personal and artistic hybridity that American Patel’s use of cruising builds on Muñoz’s concept of discursive formations, chapter 2 art history has neglected him, Patel also brings conception of queer practices that actively considers how the discourse on the iden- Twombly into discussion with Bhavsar to contend with how we construct the worlds tity and oeuvre of Anish Kapoor has shifted think through the notion of queer abstraction we inhabit as coconstituted by our desires. over the years and reflects cultural trends as forwarded by David Getsy. Due to its expan- The deployment of cruising as a hybrid and ideological positions of art historians. sive capacity, the concept of queer abstraction method is developed to undo traditions bent He traces the discourse on Kapoor’s oeuvre facilitates Patel proposing queer Zen as a on maintaining established hierarchies and throughout the 1980s as having “troubling mode of understanding Bhavsar’s work.7

123 artjournal Patel’s fourth chapter builds on the history. Patel contends that Bhavsar’s oeuvre meaning and remains in a liminal space scholarship of Richard Dyer to unpack the elides essentialist methods deployed by both touching intellectual, corporeal, and visual slippage of white as both a color and an US and Asian art history, as both have tradi- experiences. Patel demonstrates how art his- identity. The aim here is to critically rethink tionally based canon formation on national- torians mobilize their political agendas, not the enmeshing of Caucasian identities and ity; consequently, both fields have historically only circumscribing the writing of art his- whiteness as the starting point of much marginalized Bhavsar and his work. tory, but often leading to an impoverishment Western scholarly thought. Patel makes a In Patel’s estimation, the commercially of art discourse for decades to come. He compelling and poignant argument about successful Bhavsar should be considered models an approach that encourages corpo- Kehinde Wiley’s approach to painting as an in the canon of US art. Patel contends, real self-reflexive methods for apprehending antidote to reductive ideas about racializa- however, that work from South Asia “was work that engages embodied, experiential, tion. The fifth and sixth chapters of the book not considered part of the contemporary and elastic thinking, arriving at expansive center on Patel’s curatorial project Mixing It conversation of serious art as far as Clement conceptions that rework art history. Up: Queering Curry Mile and Currying Canal Street, Greenberg was concerned” (58). Attributing Patel’s version of South Asian art history which cross-pollinated art between the Gay the formulation of an American art canon actively reframes identity categories and field Village and Curry Mile in Manchester, United in the postwar period to the late American formations not as based on biography, geog- Kingdom, where he was living at the time of art critic, Patel notes that he “was as much a raphy, or nationality, but organized around the project. These sections reflect Patel’s deep formalist as he was a nationalist, and Bhavsar the recognition of shared concerns relating interest in intersectional modes of engaging did not fit into the mold of a prototypi- to identity across media and between iden- art history as discursive praxis. cal American subject” (58). Patel proposes tity constituencies. Patel’s project critically The seventh and final chapter brings that in concept and practice, Bhavsar’s work rethinks notions of identity and belonging, together a political cartoon by Carter exceeds the bounds of US modernist aesthet- intentionally rejecting conventional catego- Goodrich, Adrian Piper’s 2013 Imagine [Trayvon ics and concepts, and that this coupled with rization. This strategy disrupts rigid, binary Martin], and Patel’s personal experiences the specific place of his birth has lead to his systems of inclusion and exclusion, freeing of racist misrecognitions in post-9/11 life marginalization.8 him to consider artists who deploy “signi- in New York City. Building on the work of Bhavsar’s work and biography exist in an fiers that connect broadly to South Asia” (77). Kimberlé Crenshaw and Jasbir K. Puar, Patel intersectional zone that brings Indian tradi- The New York–based artist Kehinde Wiley is proposes that we conceptualize identity as tions into cross-pollination with Western one such example. Wiley is well known for a mobile intersection wherein each facet is art. Born in India, Bhavsar earned his MFA creating large-scale, colorful, ornate, photo- contingent on the other. Patel brings together at the University of Pennsylvania in 1965 realistic paintings usually depicting contem- Jones’s thinking on identification as “deeply and has resided in Soho in New York for porary African American men as the subjects inform[ing] how we interpret, make mean- over fifty years. Using a technique similar to of reinterpreted Renaissance and old master ing and attribute value” (Jones quoted on rangoli (traditional Indian floor drawings), paintings—works that in their original ren- 189) and Meskimmon’s argument that art Bhavsar produces his work by layering pig- ditions typically imaged heterosexual, cis, has the potential to “make the world, not ment on the canvas, sifting it through sieves Caucasian patriarchs.9 In 2006 Wiley began merely represent it” (Meskimmon quoted on and screens. Patel describes Bhavsar’s large working on the series The World Stage: India, Sri 191). Here Patel contends that aesthetics and colorful paintings as undulating fields of Lanka (2010), a group of paintings that image affect often come together in visual experi- color in conversation with Rothko, but unlike contemporary dark-skinned men from India ences that have the potential to shape social Rothko’s Color Field paintings, Patel writes and West Africa in art historical pictures from life. He asserts that art can be “an agent of that Bhavsar’s colors engulf, augment, fade, their respective nations. Patel’s discussion of change” (189). Prompting affective responses and reemerge. Patel sees Bhavsar’s massive, Wiley’s painting Femme Fellah (2010) from this to visual culture, he urges recognition that immersive paintings as recalling the Indian body of work compellingly demonstrates the all “Others” be respected as such, while also celebration of Holi, where in celebration of need for and success of adaptive, flexible, proposing that we remain vigilant about how the coming spring, revelers are showered interdisciplinary, self-reflexive methods of representations set up expectations. with multicolored powders and water and producing art history. The forty-five-by-thirty- Patel’s most compelling and robust become immersed in clouds of pigment. six-inch oil painting depicts a young man discussion of the power of discursive forma- Bringing together a self-reflexive cor- wearing a bright blue and yellow T-shirt. His tions and the limiting effects of traditional art poreal experience of Bhavsar’s work and warm brown eyes look directly at us across historical methods appears in the third chap- deploying his strategy of cruising for meth- the picture plane beneath his short dark hair. ter. Borrowing from Alexandra Juhasz, Patel ods by which to unpack the work’s signifi- Wiley’s rendering of light and shadow cou- describes his work here as “queer archive cance, Patel spends a significant portion of pled with his use of bright colors render the activism” (60). Mobilizing a critique of the the chapter discussing notions of queer figure in a hyperrealistic manner that entices discourse on the oeuvre of Bhavsar, Patel abstraction, building on the work of Doyle perusal while simultaneously demonstrating establishes how art historians have immense and Getsy, and Roland Barthes’s thinking on the materiality of the painting’s surface. authority over the cultural reception of art- Zen Buddhism. Ultimately, Patel describes his For Patel, Wiley’s use of color presents works and wield vast gatekeeping powers interpretation of Bhavsar’s oeuvre via queer an antidote to the problem of fixed and when it comes to curating the canon of art Zen, proposing that it exists at the edge of essentialized notions of identity. Observing

124 winter 2018 Wiley’s way of painting his “brown” and heteropatriarchal representation of manhood Ultimately, Patel’s use of this terminology “black” subjects as multicolored, with skin (Wiley’s subject), thus flattening concepts of and his discussion of Wiley’s painting under- tones composed of browns, reds, greens, and trans identities, discourses, and trans experi- scores his point that meaning is made via a blues, Patel describes how the surface vacil- ences to a binary gender structure. However, discursive process and via encounters among lates between skin and pigment, between there are a plethora of ways of being trans viewer, work, author, and framing. surface material and image rendered. This and transgendered and non-binary trans. Patel’s project calls attention to neglected fluctuation between flesh and paint both The deployment of “transgendering” in this histories, while simultaneously dismantling lures us in and stops us on the surface. instance makes a double move, and depend- the processes of circumscribing identity- Invoking Jacques Derrida’s concept of the ing on the situatedness of the reader the based discourses via axiomatic, geographic, pharmakon, Greek for both “remedy” and work may signal in (at least) two radically and appearance-based methods of determin- “poison,” Patel argues that Wiley’s treat- different ways and even two ways simultane- ing belonging. At the heart of the book is a ment of skin as surface both naturalizes and ously: on the one hand, motioning toward desire to call attention to how we each exist denaturalizes the subject simultaneously.10 the cultural context in South Asia where the in a mobile, intersectional zone at the crux This treatment is significant for Patel in that movement across genders is part and parcel of various identity categories and ideologies. it brings our attention to the use of color of culture, while in another context the term Throughout the text, Patel demonstrates rather than representation—it visualizes the signals part of the ongoing debates around how imperative it is for scholars to articulate notions of skin color and race as constructed. trans lives and rights, and the rigid binary our situatedness, not only for the sake of For Patel, Wiley’s technique unfixes blackness gender structure that governs which genders transparency, but because it enriches cross- and in so doing necessarily also undoes the are valued.12 cultural, interdisciplinary exchange and conflation of whiteness and Caucasian. He Painting a male figure in an image highlights issues around cultural translation. invokes Piper’s observation that one way to titled Femme Fellah, which can also be read Patel’s reworking of the discursive framing of combat racism is by getting Caucasian people as “femme fella,” may also have to do with canon formation is a significant intervention to “stop thinking they’re white, no one else the artist’s interest in playfully engaging in not only within South Asian art, but also art thinks they are white” (Piper quoted on 87). a sophisticated visual discourse of gender history, visual studies, and conceptions of In Patel’s reading, Wiley’s work offers a way representation and gay desire. Suggesting identity more broadly. Patel’s commitment to out of equating Caucasian with whiteness— feminine characteristics be associated with transparent, intersectional, hybrid, adaptable, suggesting conversely that “white” skin must his masculine subject via the title, Wiley’s self-reflexive, and critically engaged meth- be understood as color. Patel emphasizes the intent may have more to do with creating ods, models much-needed interventions into need to critically engage with any ostensibly a contemporary representation of femme art history, visual studies, and discourses of neutral positions and actively rethink pre- masculinity as desirable, than engaging with identity. conceived ideas about how we define iden- transgender discourse. Wiley is known for tity and belonging. using cis male models, and in fact Patel Ace Lehner is an interdisciplinary scholar and artist specializing in history, theory, and criticism Patel’s discussion of Wiley’s Femme Fellah discusses a gaze of desire often directed of contemporary art, visual studies, photography highlights his argument that it is crucial from the artist toward his subjects. Raising theory, queer and trans theory, and critical race for art historians to be self-reflexive and questions about what femme masculinity studies. Lehner will chair a session at the CAA transparent about cultural and intellectual looks like and prompting questions about Annual Conference in New York in February 2019 entitled “Trans Representations: Intersectional situatedness, in a way that demonstrates the limits of visibility, Wiley’s Femme Fellah Gender Identities In Contemporary Art and rather than states. Translated from the Arabic, demonstrates the complexity of intersection- Visual Culture.” Currently, Lehner is a President’s “fellah” means “peasant” (96); fittingly, the ality, identity, and representation. Deploying Dissertation Year Fellow and PhD candidate 1866 painting Femme Fellah by Charles Zacharie “transgendering,” Patel intends to signal a in visual studies at the University of California Landelle, on which Wiley based his painting, reference to South Asian deities—a signifi- at Santa Cruz and part-time faculty at Parsons School of Design in New York. depicts a young peasant woman. Patel uses cant contribution to the discourse around the term “transgendering”(96) to describe trans issues today—and emphasizes that 1. Marsha Meskimmon and Dorothy Rowe, Wiley’s recasting of a man in his 2010 rendi- trans folks have always existed and in some eds., Women, the Arts and Globalization: Eccentric tion of Femme Fellah. For Patel, deploying the contexts have been revered. However, the Experience, in the Rethinking Art’s Histories series (Manchester, UK: Manchester University Press, term “transgendering” is a way of signaling critical and polemical resituating of “trans- 2013). how South Asian deities often move across gendering” is generative but ultimately 2. Judith Halberstam, The Queer Art of Failure genders or have more than one gender, while invokes visual references that reproduce (Durham: Duke University Press, 2011). also referencing the respect and legal protec- binary gender representations. Depending 3. José Esteban Muñoz, Cruising Utopia: The Then tion for third-gendered people in South Asia.11 on the position of the reader, the meaning and There of Queer Futurity, NYU Press Sexual Cultures series (New York: New York University Deploying the term “transgendering,” of Patel’s deployment of “transgendering” Press, 2009). however, in this particular instance also sug- may be understood in radically different 4. Mieke Bal, “Visual Essentialism and the Object gests that trans experience equates to visibly ways. Representations, identities, and ideolo- of Visual Culture,” Journal of Visual Culture 2 no. reflecting a cis-normative, heteropatriarchal gies are coconstitutive and shifting, their 1 (April 2003): 5–32. 5. To substantiate his point that the 1990s representation of womanhood (Landelle’s signaling contingent on location and cultural was marked by a shift in art discourse toward subject) and later reflecting a cis-normative, framing of artist, art historian, and audience. and interest in hybridity, Patel notes the New

125 artjournal Museum’s book Out There: Marginalization and because he was born three decades after Mark 11. Patel cites Rajesh Sampath, “India Has Contemporary Cultures, ed. Russell Ferguson (New Rothko. However, the point I’m highlighting here Outlawed Homosexuality. But It’s Better to Be York: New Museum, 1995), which included papers and that is at the crux of Patel’s project is the Transgender There than in the U.S.,” Washington by Homi Bhabha and Gayatri Chakravorty Spivak, extensive impact art historians have on shap- Post, January 29, 2015, at www.washingtonpost. among others who delved into issues of hybridity ing discourses and canons. American art in the com/posteverything/wp/2015/01/29/india- and postcoloniality. postwar period was rigidly and nationalistically has-outlawed- homosexuality-but-its-better-to- 6. The Whitney Museum presented an annual defined to such a degree that Bhavsar is not even be-transgender-there-than-in-the-u-s/, as of exhibition from 1932 through 1972. In 1973 the discussed as a post–Color Field painter in a way November 19, 2018. exhibition began presenting a biennial in odd- that might satisfy Patel’s criticism. 12. In an increasingly global world it is difficult numbered years, a schedule that continues today. 9. Wiley is now widely known for his presidential to imagine only one interpretation of Patel’s 7. Jennifer Doyle and David Getsy, “Queer portrait of forty-fourth president of the United deployment of “transgendering” in this context. Formalisms: Jennifer Doyle and David Getsy States, Barack Obama. If we apply Patel’s thinking to Wiley’s artistic in conversation,” Art Journal 72, no. 4 (Winter 10. Patel is building on Roberta Smith’s observa- dearticulation of surface from subject’s identity to 2013): 58–71, also at http://artjournal.collegeart. tion that Wiley paints “skin as flesh and flesh as the discussion of gender, we could also argue that org/?p=4468, as of November 19, 2018; and paint.” Smith, “A Hot Conceptualist Finds the Wiley’s painterly approach to representation also David Getsy, Abstract Bodies: Sixties Sculpture in Secret of Skin,” New York Times, September underscores gender as constructed and not nec- the Expanded Field of Gender (New Haven: Yale 4, 2008, at www.nytimes.com/2008/09/05/ essarily correlative to interior self-identification. University Press, 2015), 34. arts/design/05stud.html, as of November 19, 8. Certainly a critique can be made that Bhavsar 2018. Patel argues that Wiley’s process “hovers was excluded from Greenberg’s discussion of between naturalizing these subjects and denatural- Color Field painting and Abstract Expressionism izing them” (94 .

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