5. September, 2007

‘Rondinone’s target paintings seem at first to be straight appropriations of American Pop, color-field, and hard-edge abstraction. In fact, these works are less copies than giddy impersonations their irony and impurity coming through their deceptively simple surfaces like a five o’clock shadow on a drag queen. Slightly blurred and clearly vibrating as if electric, these Kenneth-Nolands-on-parade jiggle and cavort’
(L. Hoptman, ‘Against Nature’, in Parkett, 52, 1998, p. 134).