Mira Schor blogs about a visit to Chris Ofili: Night and Day at The New Museum, New York, (through January 25) and Benny Andrews' painting No More Games (1970) on view at MoMA.

Refelecting on Ofili's work Schor writes: "Each floor tells a story and each room is not just a space to stick some work, but to consider a body of work. I … felt strongly that these paintings were made by the artist, that he was engaged in the painting, even though these are not conventional paintings–there is neither brushwork, nor smooth flatness, the surfaces are complex, textural, layered, constructed, but they are convincingly by one person making decisions as he goes along."

Schor adds that Andrews' "No More Games is by far the painting that remains with me from all the paintings I’ve seen in the past few days, it is a political essay–a trying something out, as a painting it is trying something out in painting: Rauschenbergian–that is, post-War, use of the real on a flat modernist picture plane, within a Renaissance representational program, to speak to a political history that is rarely faced, especially within painting."