“Where do images come from,” asks Hanna Hur—less a question than a kind of summons. “Repetitive gesture becomes a petitioning of the gods for the image to come near.” Her absorbing compositions hinge on the constancy of the grid, transformed through prolonged encounter from static matrix to embodied event. In an essay that accompanies Hur’s first solo exhibition at Greene Naftali, Daniel Marcus details her approach to painting “as ‘an act of submission’ . . . testing her capacity (and ours as well) to bear the burden of its mystery.”

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