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Mint Flash, 1999, 46″ x 46″ 1 unionprinter 1. 4 fl 1.1 1,1 I 11 4.606 fiENOWAy ClirieLg 2:452 505$ metipr in t\( 0,aoLcpm. g- I. . Jackson Pollock, Barnett Newman, Mark Rothko, and others, as they rotate through the galleries of the Menil Collection. The most obvious connection is to the work of Mark Rothko, especially the most recent work, which is vertical \(achieved by masking either side of the tion, Williams wanted to revisit issues he had explored in college when he was studying painting. At the same time, he has continued his interest in the illusion of space in photography. By repeating the same structural system, he wants to discover how far the structure can be pushed until the work becomes off-balance. Near the end of the tour, one of the young students approached us and asked me what we were doing. After I explained, Williams smiled and said she seemed to understand better than most of the adults who ask him questions. And he is ap proached frequently. Once someone asked if he was taking pictures for a lawsuit against the Port of Houston Authority: the photograph as evidence, serving a utilitar Austin writer and art historian Saundra Goldman has written on contemporary art for numerous publications, and is at work on a book about the artist Hannah Wilke. Casey Williams’ photos \(all ink-jet print on satin the Barbara Davis Gallery, Houston. ian purpose. He said most people have a hard time understanding what he is doing out there, an adult man taking a boat ride in the middle of the day, in the middle of the week, shooting some pictures. It’s unproductive. That is why making art is still a radical act. While the world carries on with its cell phones and Palm Pilots and high-speed modems, it is important that someone stand still, observing. We need artists to challenge us and question our assumptions about the nature of art, and the contents of our world. JULY 7, 2000