Gabriel Klasmer is primarily identified with the scores of paintings that he has produced over the last three decades while living and working in London and Jerusalem. Not unexpectedly, his recent retrospective offered a large selection of these works, from theatrical canvases of decaying civilizations to paintings in which color becomes monochromatic and images are reduced to flickering forms. Klasmer then went on to produce abstract-geometric images by means of a low-tech painting machine that he invented. With this tool, which consists of a rail-mounted brush that delivers paint in vertical or horizontal lines, painting, for Klasmer, became a mechanical process, with extensively reduced manual participation. Hence, the show’s title—“Zero One.” Despite this emphasis, it was satisfying to note the prominent position…see the entire review in the print version of June’s Sculpture magazine.