Untitled

"Christopher Wool's strategy as a painteris to plunge deeply into this culture, acting complicity with its essential tensions, in order to bring new intensities to the level of visibility. Rather than attempting to secure an autonomous space for painting apart from the vernacular culture of signs, he paints to encounter the culture from within its constraints. He insistently welcomes the impurities of cultural collision because they increase the potential of each painting's interaction within a political field, however narrow those parameters might prove for art." -Bruce W. Ferguson, "Patterns of Intern," Artforum, No. 30, September 1991, p. 95)