Luisa Caldwell and Matt Freedman, Two Coats of Paint, 2017

What Brody and Green have done in their collaboration/non-collaboration is a feat of remarkable alchemy; they have removed the uncanny from the body, from the images they depict even, and set it up as a condition of the space around their work.
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Cathy Nan Quinlan, Talking Pictures, 2016

Are these stored memories of places I’ve been— the narrow ledge begins to look horribly familiar. And I think, “Should I be looking at this?”
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Elliott Green, Bomb, 2016

At first glance, his paintings resemble real places––fragmented cities or peculiar but credible geological formations—but you soon realize that they’re the product of an idiosyncratic mind. The images’ diverse and unique details reveal that they are metaphorical, poet-shaped, nonobjective.
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John Yau, Art on Paper, 1998

In these gouaches, we see the ruins of the future approaching us.
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David Cohen, Catalogue, 2011

In Brody’s aesthetic […] the quirks of handwriting are offset by sublime sensations of space. He offers a fusion of grandeur and doubt that recalls Cézanne.
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John Yau, Catalogue, 2002

[Brody’s] structures may be inhabitable by the viewer’s eye, but that doesn’t mean they are completely comforting. In Brody’s paintings and drawings, utopian and dystopian impulses have become, as perhaps they already were, inseparable.
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Lori Ellison, ArtCritical, 2014

The untitled orange-red sculpture, a ziggurat construction suspended from the Boiler Room’s high ceiling veiled by draping swathes of bubble wrap, had an apparitional impact like seeing a ghost in a haunted house.
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Phong Bui, The Brooklyn Rail, 2014

The exhibition displays the artist’s most liberated work to date, an endless exploration of the entangled grid. It recalls Daedelus’s labyrinth on Crete, as much as Piranesi’s etchings of famous prison interiors.
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Matt Freedman, Catalogue, 1998

Brody’s process is highly analytical, but to him the results are profound mysteries, and the paintings are discoveries; maps of another man’s investigations.
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