‘From afar they’re the type of monochromatic, repetitive, minimalist paintings you might find at Dia: Beacon. Up close the lumpy surface reveals the texture of their material – crushed charcoal and white ochre, white ochre being most commonly used for sorry business. Far from pure abstraction, the paintings depict a museum storage facility with endless shelves of archival boxes containing bones held in institutional limbo […] ancestral remains, sacred objects and cultural heritage behind layers of impenetrable bureaucratic control’. —Matthew Harris