For decades, Albert York’s bounteous paintings have hidden in plain sight. Aficionados of deceptively substantial landscape and still-life painting, such as the critic Bruce Hainley, have long revered him; I first heard about York a few years ago from some savvy painter friends, and was speedily entranced. Calvin Tomkins, in a 1995 New Yorker essay, called him ‘the most highly admired unknown artist in America’, a précis still applicable when York died in 2009. Last year, though, his art landed…
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