Sarah Hegenbart considers the paintings of Dexter Dalwood.

Hegenbart writes: "Dalwood aligns with Cézanne in the way in which he intermarries objects and references, but transforms the musicality that resonates in Cézanne’s work into a cold rational über-structure, creating an objectivity via external perspective of things, almost like a view from the interzone. Dalwood’s work is many things, but not warm, often featuring a stark lack of people to establish a super-realist environment somehow reminiscent of the emptiness of Giorgio de Chirico. Yet, it is not what Hal Foster calls ‘the return of the real’ confronting us in Dalwood’s paintings: his works clearly point to their own constructedness. This challenges the viewer to overcome the fiction, to pull apart the multitude of histories Dalwood stitches together. Dalwood does not want to be beautiful or aesthetically appealing. His approach towards painting might be described as analytical rationality that breaks down thought processes into visual fragments, leaving it to the viewer to reassemble them. This non-unity allows for an ultimate unity via the viewer’s process of meaning-making. Like in an interzone, there are no guidelines, no rules or regulations that serve as guidance for the process."