Reena Spaulings: The Male Gates is an exhibition of new paintings on canvas and walk-through security gates. With a few rough coats of decorator’s enamel, devices typically installed at airports, schools, nightclubs, museums, etc., now set up a passing encounter between painting and the standardization of infrastructure. Here the technology of passage becomes a site in itself, a form that addresses the human body while trying to hold the space of the gallery like Minimalist sculpture. Five gates are installed together with a very large “seascape” made with floor-cleaning robots. This latter work translates the weird weather of late Turner using Farrow & Ball Estate Emulsions and the algorithmic scrubbing of a smart mop. Other smaller works on canvas revisit pointillism as depersonalized mark-making, repetitively adding colors until a neutral, grayish swarming starts to happen. These druggy “medusas” drift between composition and decomposition, multiplying clouds of oil and enamel points over quick acrylic underpaintings.