Abstract painting is anything but revolutionary. Once the vanguard, it is now the rear guard, moving at an historical pace that makes it the allegory par excellence of modernism. Picking up where the likes of Hans Hoffmann, Larry Poons, and Jules Olitski left off, Rebecca Morris’s paintings are a lovingly destructive embrace of high modernist tenets as espoused by critics such as Clement Greenberg and Michael Fried. What was once celebrated as pure painting has degenerated into a ubiquitous abstraction that Morris redeems through congealed layers of paint that are a testament to her conviction. Her paintings say it loud: Abstract and I’m Proud! This exhibition will survey Morris’s work of the past ten years.