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Pandora's box The "occasions" arise in the intersections between photographic enlargements.

Using a panorama camera, Baldessari was taking landscape pictures. Then, quixotically turning the camera 90 degrees, he realized the panorama best encompasses tall subjects, such as palm trees or apartment buildings. The new works each assemble two or four linear panoramas, greatly enlarged, into a square or cross. Where the similar bracelets to pandora photographs overlap, a kind of double exposure is created. Inside this zone of camera chaos, Baldessari paints the jumbled pattern of shapes, shadows and lines, using flat acrylic colors. Although visually unique, these provocative works immediately recall paintings by artists as diverse as Matisse and Ellsworth Kelly. "I think there's probably a hidden notion that, if you engage in painting, that's known territory," Baldessari says of his surreptitious methods for insinuating painting into Conceptual art, which are now blatant. "It's not like 'there are dragons out there in the mist,' you know? It's familiar territory." In the 1980s, Baldessari made big photographic composites whose inventive mix of whimsy and pandora net au power catapulted his career from cult status into the stratosphere. They were composed from cropped and altered B movie stills, but their pictorial language derived from 17th and 18th century Baroque painting, re imagined for an age of cinema. "Bloody Sundae," for example, shows three men in the upper frame with guns drawn, while lovers in bed fill the lower frame mere mortals held unwitting hostage to the caprice of wicked gods above. Think Fragonard or Tiepolo. Still wrong after all these years There's little interesting art today including painting that hasn't been informed by Conceptualism, but painting per se remains an institutional whipping boy. (Alluding to the lingering queasiness about the medium in institutional art circles, Baldessari groans and says, "If I see one more refrigerator door that's meant to be considered as a painting, I think I'll scream.") The Project exhibition betrayed an almost pathological fear of paint. So do the big national and international surveys, such as last spring's paintings poor Whitney Biennial and Germany's recently closed Documenta 11. Documenta dismayed Baldessari, who found little to admire. His favorite work was an enormous still life painting by Luc Tuymans. The Belgian artist's moody paintings of the mysteriously slain, post colonial Congolese Prime Minister Patrice Lumumba made a big impact at the 2001 Venice Biennale. He was one of only three painters invited to Documenta, where most of the 113 other artists employed documentary methods of political art. "He might have done it perversely," Baldessari said of Tuymans' huge still life. "But you know the reason he was chosen for [Documenta] is not because he's a painter, but because of his [earlier political] subject matter. Me, I couldn't care less about the content, I like his painting. I know there's suffering in the world. I read the newspapers every day. I don't have to be told that by art. "Metaphorically, it's like Christ nailed to the cross: I don't want to see sales on pandora bracelets the nails in the hands, I want to see the ascension all the joy and the glory.

Which I didn't see at Documenta." Baldessari's embrace of artistic pluralism is plainly not in pandora jewelry store locator sync with today's dominant international state of affairs, where fourth generation Conceptual art still rules, and picto phobia is rife. Thirty five years after "Wrong," it seems Baldessari is still wrong.

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