The Gerhard Richter show inaugurating Marian Goodman’s heavily anticipated London gallery is nothing short of superb. Curated by the artist, it showcases Richter’s recent experiments with abstraction, while subtly inscribing these within the history of his practice. The exhibition is not—as some might have feared—the “greatest hits” of an auction favorite. It represents a thoughtful presentation of an artistic mind at work. And it shows that mind as alert to the yet-untapped potential of the pictorial medium as when Richter first rose to fame a half-century ago.
Spread over two floors of the Victorian-era warehouse—tastefully refurbished by David Adjaye Associates—the exhibition features three bodies of work: “Strip,” “Flow,” and a series of painted photographs, which Richter initiated in 1986.
