Haber writes that Hinman's "irregular polyhedra build on oblique triangles and trapezoids. Simpler rectangles lean against or stand one in front of another, as for Johns, but with a noticeable gap between them—or between them and the wall. A single facet or canvas may have its own color, or the shadow across it may serve as color, an effect even more obvious in reproduction. Sometimes a color belongs solely to the edge of a work, or so it seems, until one notices that Hinman has painted the back. In all these ways, he is working with light as much as with a brush and a miter. In these ways, too, he is not just shaping an object, but also taking it out from the wall."
Image coming soon.