Contributed by Marjorie Welish / Robert Storr’s canvases are designed to counter expectations and require us to discard habitual taste. Disequilibrium reigns in abstract compositions exploiting the inexhaustible potential of the basic unit of the square. To keep the viewer alert, he employs novel moves and tactics, inserting an eye-catching red block within otherwise black and white interlocking compositions. But Storr’s paintings, on view at Vito Schnabel through January 17, are not about color, or even about perception and finesse bestowed to a surface. Rather, color for him is a signal to attend to a structural remit for composition.
