The title of Deborah Kass’s exhibition at Paul Kasmin Gallery, “MORE Feel Good Paintings for Feel Bad Times,” is enough to clue the viewer into her glib brand of post-everything art. Really. You don’t need to see the accompanying pictures—text-based canvases rendered in a Pop palette and delineated with can’t-be-bothered-with-this brevity—to glean an ironic sensibility pleased with itself and working overtime. The things are stand-ins for an artist who has made a substantial career from exalting her own narcissism.

Then again, that’s pretty much the case for any artist who can be pegged with the prefix “post-.” It doesn’t matter if she hews to a feminist reading of history, self-consciously apes historical modes of abstraction, or engages in Warholian strategies, the “post-” artist will happily jettison aesthetic engagement for the opportunity to...


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