Over the course of the past years, painting has undergone a spectacular renaissance in the arts capital of New York at the hands of a generation of artists who will no longer be told how art should and should not be made. Eleven positions reveal the current importance and variety of a genre many believed had no future. Today, it seems, painting is as alive in New York as it was during the period of Abstract Expressionism in the 1950s and of pop art in the 1960s. The difference is that there is now a plurality of styles and forms of expression. The spectrum ranges from the painterly experiments of Matt Connor via the wild post-pop paintings of Eddie Martinez to the neo-conceptual approaches of the likes of Antek Walczak and Ned Vena. Without prioritising any particular style, this volume documents the rich panorama of the medium of painting, which has moved on from the ideological battles about its existence and plays an important role once again.

In his first comprehensive monograph, Lukas Glinkowski opens up insights into his visual world. His studio paintings re-compose impressions and encounters from everyday life, creating a visual mashup: citations from art history, comics, and figures can be found on unusual backgrounds such as ingrain wallpaper, tiles, or mirrors. Glinkowski creates room to play with habitual ways of seeing and thinking. Viewers can configure contexts by themselves. Still, it does not stop with the process of viewing; visitors are often included in the process of painting and rediscover their own seemingly familiar world. Glinkowski's painting does not attempt to explain, but instead poses many questions.