Gerhard Richter’s paintings arrive at SFMOMA, and if Philip Guston confused people with his figurative-abstract-figurative personal history, what can we make of someone who has worked in several modes simultaneously throughout his career? From the opening Stag caught in the viewer’s gaze to the radiantly abstract Wall, the installation suggests someone who just plain refuses to choose. Richter is the rare artist who not only gets away with it, but makes us wonder why most everyone else settled for just one signature style. These paintings are so good, maybe he is simply the only one capable of pulling it off.

- Tucker Nichols [Thursday, October 17th, 2002]


From the editors