John Haber reviews a recent exhibtion of paintings by Charles Hinman at Marc Straus Gallery, New York.

Haber writes that Hinman's "irregular polyhedra build on oblique triangles and trapezoids. Simpler rectangles lean against or stand one in front of another, as for Johns, but with a noticeable gap between them—or between them and the wall. A single facet or canvas may have its own color, or the shadow across it may serve as color, an effect even more obvious in reproduction. Sometimes a color belongs solely to the edge of a work, or so it seems, until one notices that Hinman has painted the back. In all these ways, he is working with light as much as with a brush and a miter. In these ways, too, he is not just shaping an object, but also taking it out from the wall."