Hanna Hur's paintings use repetitive gesture as a spur to revelation. The arrival of the image comes via the rote activity of plotting a gid, which transforms through prolonged encounter from static matrix to embodied event. Published on the occasion of Annunciation, the artist's first solo exhibition at Greene Naftali, this limited edition booklet features a new essay by Daniel Marcus. The text traces the motif of the Annunciation from Renaissance painting to Jean-Luc Godard, and likens that rare moment of divine intervention to Hur's own meticulous studio process: in which patterning becomes a means "to invite—and receive—an image from outside herself." Marcus details Hur's approach to painting "as 'an act of submission' . . . testing her capacity (and ours as well) to bear the burden of its mysteries."