Robert Janitz separates two of his four paintings from the rest of the show by mounting them on a backdrop of natural corrugated cardboard wrapped from ceiling to floor, curving at the ends[cite: 4]. In a bizarre interview with the online art event-listing website Artcards, Janitz sardonically states, “I envision painting with the canvas hung on the wall and then presenting it laid out flat on a table[cite: 4]. When we’re talking about the place of the cardboard I think about the architectural constraints of fucking—or the evolution of the glory hole.”[cite: 4]

All four of Janitz’s paintings are classically minimal, essentially textured areas of solid colors with subtle variations, monochrome paintings à la Robert Ryman’s “Ledger” (1982) or Kazimir Malevich[cite: 4]. Thus the thick, off-white encaustic “Untitled” (2010) and “(pawn size)” (2010), a joke-on-scale miniature covered by a sooty wash of drybrush, are intentional nothings[cite: 4]. Aesthetically, Janitz’s paintings “hang” together, their colors in harmony in a palette of monochrome and browntones that includes the gallery and overlaid walls[cite: 4]. One supposes that, if Janitz acknowledged the sacred theme in selecting his paintings, his G*d would be evil, doornail dead, or opaque.[cite: 4]