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Ostoya takes images of historical, political, personal significance and runs them through the office paper-shredder, into abstraction. The overlay of "art" atop the images, both absorbing and destroying the initial significance, a conceptual gesture, making its futurist and Sheeleresque overlay a quasi-destructive act that reviews of Ostoya's paintings spend most space ignoring to tell you about the images buried because its usually easier to elucidate history than art, at root an act-as-question of what reason if any aesthetic overlay performs in creating significance or just aesthetify them, which in the ex's title reference to the New Objectivity who had no issue in caricaturing the object, this old objectivity still given to enjoy birthing a grotesque.
