equated combination of the suggested space with the actuality of the painted object.  Murado has left out anything that might otherwise distract from his content

Antonio Murado, Untitled, 2007, oil on canvas, 71 x 71 in

Color and surface set up their own separate contrasts.  With the reductivist aspect of the work there is also a heavy industrial sensibility to it; an impersonality of the sort found in one of Serra’s steel sculptures. In the press release for the show the concept of these paintings 

Antonio Murado, Dos Hermanos, 2007, oil on canvas, 70 x 110 in

representing walls is mentioned.  This is true enough and  counters their impersonal aspects.  The prevailing emotional atmosphere throughout this show is one of loneliness and desertion. Think of a government building; say an old school that has long been abandoned.  This, along with the tender color handling counters the aforementioned coolness and distance.  As a body of work these paintings also command a hushed sense of respect, a quality of that engenders an almost religious respect.  As with Rothko’s last work, there is an urge and inspiration to meditate in their presence.

Antonio Murado, Untitled, 2007, oil on canvas, 71 x 71 in

One problem with such reductive work is the question of where does it go from here?  Murado is solidly locked into a definitive style which relies on slight variations of color and form to distinguish itself.   All of this is good and serves the current exhibition quite well.  But how long can the artist make these elegantly beautiful paintings?  The danger is to dwell too long and risk that the beauty becomes so overwhelming that the work is reduced to ornamentation.  Although the color and surfaces are highly seductive this does not yet overcome the content.  So, as with the Missy Lipsett show (reviewed above), I’ll be very interested to see what Antonio Murado’s does next.