Event Calendar

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…

Concerned with acts both of construction and deconstruction, painter Annabeth Marks’ work forces a consideration of the boundaries of painting in both process and form. For her contribution to the Return to the Real series, she presents new works—a group of small, dense and richly colored, intimate paintings that are mediations on the psychology of scale, reflecting on conditions of the past year. Image: Annabeth Marks, A Thing That Gets Folded Around Another Thing, 2020; acrylic on canvas; 24 x…