This is to invite, not to describe. The paint alone describes its movements, its presence, its qualities. The canvases, stretched, allow for this. This is what happened: decisions, chances, accidents, denials, acceptances, responses, and over and over again. Only onto and across these surfaces, yet seemingly in and out and off of them. Framed by the paintings, these movements are held. If spaces can be defined by their capacities for certain movements within, then Judith Geichman’s new paintings appear to suggest spaces in states of constant redefinition brought on by shifting layers of paint being scraped, raked, combed and pulled across grounds by a series of unconventional implements. Extracted moments from an unsettled fluidity, like a single frame of film from a 30 second long, animated dance sequence. We look to the edges for clues of what came before and what is yet to come. Perhaps we can find these moments as we ourselves transition from one painting to the next. Physically traversing those spaces as they become defined by imagined movements of paint; marks expand, they recede, they come into being, and then move along, making and unmaking themselves until we stop again.