Robert Yasuda at Elizabeth Harris Gallery, by Michael Brennan

  Robert Yasuda, Coco-Palm (2006) Robert Yasuda’s work stands well in a corner. His current exhibition includes three narrow corner paintings (“Half Full,” “Simple Truth,” and “Bonjour”) that work like studs or posts, rising vertically with a strenuous elegance, adding a sense of rigor to his otherwise atmospheric abstractions. Yasuda has favored the corner for some time, and his work, even in group shows, always seems to shine from that unlikely spot. Formally, they recall […]

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