Yusuke Saito at PAGE (NYC)

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Which the point, both pizza and painting must conjure desire, edible or erudite. There's some fun in that world: imagining a Rothko you can take a bite of. At base, both P formats touch on some primeval instinct, desire. The switcheroo of painting's distanced judgement with the less socially clouded appreciation for pizza makes the point a bit clearer - there is a less than high basement to our admirations. There will be no food critic telling you to enjoy worms on your pizza, but there is always an art critic who will. 

Vittorio Brodmann at PAGE (NYC)

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The teenage sock, the teenage notebook - sites of primordial soup of painting congealing life, sentience, evolution doesn't always lead to advancement, occasionally a butthole develops on a forehead, leaves a whole family tree in ruin - these are the expenses of transformation, a horribly burned beast, a whole society left with questions of euthanizing the entire series, of paintings, but we don't do that anymore, we let them live, you never know when the butthead will teach you something.

Ryan Huggins, Jacob Mason-Macklin at PAGE (NYC)

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First there was zombie figuration, now headlines declare Figuration Fatigue. No longer tired painting but tired viewers. The blame shifts. Our eyes weary. And it's true, there is a "diminished emotional responsiveness to a stimulus after repeated exposure to it." Ostensibly time will sort this out, but is it true? Or does first claimant get spoils. Looking new is often more important than being new. How many times has assemblage been rekindled by the fresh dumpsters outside artist studios, a new trash appearing different than Rauschenberg's? In a long enough view eventually everything might return to garbage, and we sort through it then I guess as artifacts.