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Damien Loeb’s M (2005), installed in the downstairs front gallery at Acquavella Galleries in New York
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by Charlie Finch

When I visited Damian Loeb in his Tribeca studio two years ago, I found the artist despondent. His gallery, Mary Boone, which had elevated him to a figure of esthetic controversy, had mysteriously turned against him. Loeb found himself furtively exhibiting his paintings in Europe and tired of the grandiose, cinematic themes in his old work.


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