In major paintings of the early 1990s, Mark Tansey uses irony and surreal combinations of places and historical figures to make uncanny but coherent connections between ideas and events. By unifying frankly illustrational imagery with the analytical terms of literary criticism, Tansey crafts paintings that amount to nothing less than philosophical incursions into widely held beliefs about the nature of representation, art, and . . .

photo: Zubin Shroff, Inc.
A painted picture is a vehicle. You can sit in your driveway and take it apart or you can get in it and go somewhere.1