Goya Contemporary Director Amy Eva Raehse explains that these new works are in dialogue with a number of App’s older series, including the homage paintings and vessels, which the artist recently revisited in preparation for a 2013 retrospective at the Katzen Museum in Washington, D.C. His oeuvre of the past decade shows small shifts in his formalist rigor, a fixation on parallel lines and rectangular forms bending into triangles and angular arrangements. In some works, rounded arcs swoop through otherwise hard-edged arrangements. After re-examining and documenting the older works for the forthcoming catalog that will accompany the Katzen exhibition, App picked up old threads in his work to create the new series. Compositions once again soften into right angles embodying the simultaneous language of a contemporary computer screen, with window-like layering and a modernist sensibility. Emanating a soft, central glow through the play of paint color, many of the pieces seem to refer to digital screens, stages, and Hiroshi Sugimoto’s long-exposure photographs of movie theaters. In particular, “Agora” and “Proscenium” most resemble monolithic projector televisions, with white, squarish planes resting on narrower black rectangles. The suggestion that these screens are off, the stage empty, adds a clever narrative to these otherwise abstract works: the contemporary substitute for meditation and tranquility versus the tranquility that can be achieved through painting.