With titles like different kinds of love (all 2006), one might expect Ziad Naccache’s three geometric paintings to elicit positions such as “69,” hugging, and penetration, and they do. Since he’s Lebanese, his coded imagery hidden within the convention of abstraction tends to upend Islam’s taboos against figuration.
Sue Spaid, Philadelphia-based Curator and Philosophy Professor, Temple University
SWAP/meet: Where Older Critics Greet Younger Artists
