Robert Ryman and Milton Avery Exhibitions Challenge Abstraction's Relationship to Depiction

Two concurrent exhibitions in New York present works that reconsider abstraction's connection to representation. Robert Ryman's recent paintings at PaceWildenstein's Chelsea gallery until January 8 feature a significant shift toward atmospheric, large-scale compositions with white as a central motif, moving beyond his previous conceptual approaches. The artist distinguishes his current use of white as an active painting choice rather than a neutral element, introducing rich dark grounds that create foggy, shimmering effects reminiscent of Whistler or Monet. Milton Avery's late seascapes at Knoedler & Company until January 29 demonstrate the pioneer Modernist's most abstract works, where marine subjects become perfect metaphors for brushed paint through pared-down, expressive compositions. Avery's flattened-out waves and schematic beaches play conceptual games with brushstroke implications, creating vertiginous effects that out-Rothko Rothko in their spare autonomy. Both exhibitions challenge viewers to modify their understanding of each artist's markmaking—Ryman's deliberate self-consciousness versus Avery's expressive freedom—while highlighting how abstraction continues to engage with depiction as its fundamental paradigm. The shows encourage seeing these painters within a broader historical context where representation remains the underlying framework for nonrepresentational work.