Before I begin this review of “Quiet as It’s Kept,” the latest iteration of the Whitney Biennial, let me cite two potential conflicts of interest. One of the artists included in the exhibition is a friend, another an acquaintance. Prior to meeting James Little, I was a fan of his carefully engineered geometric abstractions, proud elaborations on modernist precedent. Since meeting James, I’ve had the pleasure of his company, both in his studio and out on the town. A few years back, Jane Dickson and I shared a lively dinner in the Fells Point section of Baltimore after completing our duties as jurists for the Mid-Atlantic Arts Foundation. (Crabcakes and beer, if memory serves.) James and Jane are veterans of the New York scene: they’ve pursued their art with uncommon persistence, having dealt with the obstacles, and enjoyed the rewards, of an artist’s life. Their inclusion in...

 

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