he first thing I encountered in “Gerhard Richter: Painting After All” was not in fact a painting, but my own reflection, or something like it: a blurred form thrown back at me by 11 Panes (2004), a stack of green glass panels propped upright against a wall. Placed across from the elevator bank in the foyer to the exhibition, the work made the defamiliarizing confrontation with one’s own distorted image a condition of entry.

표지: 스노우, 로얄아이보리
합지, 톰슨, 바인더