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New York Magazine

New York Magazine

Critic's Pick

By Jerry Saltz, ill.

December 10, 2012

Mea Maxima Culpa

I was wrong about Jeff Elrod—way wrong. In 2000, when he showed his new paintings with marks seemingly made by computer-mouse movement, reproducing mechanical effects and odd glitches, I thought his work was gimmicky, slight, simple. Sure to fade. Since then, I’ve seen that not only was he ahead of the painterly curve; his work is captivating, smart, and challenging. His new paintings involving some of the same issues are carried to new levels of optical delight and cerebral accomplishment. I’m glad he and others didn’t listen to me.