Oehlen enunciates his painterly prerogative over collaged photographic corporate advertising images on paper affixed to a dozen rather large canvases. Warhol and Basquiat collaborated along similar lines, juxtaposing Warhol’s silkscreened corporate motifs against Basquiat’s crash-andburn, savagely humorous, intuitive scrawls — except Basquiat was generally figurative and naive, while Oehlen handles paint much more elegantly and favors a stylized organic abstraction akin to Per Kirkeby. Large areas of the canvases are left blank white, which isolates the hazes and calligraphic strokes swiped and scumbled with bravado over the passages of digitally rendered “commercial art.” This graphic ploy teases one’s instinct that it must be a picture of something. The underlaid collage elements are cut and pasted in simple hard-edge geometric configurations. He assaults and berates them with oil paint to the point of being almost unintelligible. The irony is that after all the violence this action painter can throw at the business world’s logos, pithy slogans and mind numbing visual banalities, the final canvases are actually very attractive: replete with lovely swathes of muted tones, sharp accents of color and late-period De Kooning-esque panache.