McArthur Binion employed his tattered address book, containing nineteen years’ worth of annotated contact information, as the substrate of numerous paintings and prints in his series “DNA.” [...] While he says the address book contains “the loves, the hates, everything I am,” the paintings and prints offer only oblique clues—and even these are masked by the rigorously deployed grids. This is intimacy that invites yet frustrates scrutiny. [...] The book’s images still adequately represent a visual rhythm that feels both insistent and meditative.

McArthur Binion employed his tattered address book, containing nineteen years’ worth of annotated contact information, as the substrate of numerous paintings and prints in his series “DNA.” [...] While he says the address book contains “the loves, the hates, everything I am,” the paintings and prints offer only oblique clues—and even these are masked by the rigorously deployed grids. This is intimacy that invites yet frustrates scrutiny. [...] The book’s images still adequately represent a visual rhythm that feels both insistent and meditative.