…While Edelson, Alexander, and Hershman Leeson focus largely on the female body, Graham Anderson’s figurative paintings, which were on view at Klaus von Nichtssagend, dissolve the nude male into a decorative abstraction. Anatomically, these specimens resemble the idealized physiques of Robert Mapplethorpe’s bodybuilders; but Anderson’s compositions are de-facto compositions: dissecting both physical anatomy and the deeply ingrained cultural convention that limits the display of vulnerable male bodies for public consumption. Stylized musculature emerges through an alternation of solid shapes and contours, and patches of dotted color, more Ben-Day than pointillist. Simple, handcrafted “viewing devices” constructed from birch plywood confined two of the paintings. Like filigreed screens or vertical blinds, these handsome accompaniments offer distorted and partial views of the canvases through identical vertical slats. Outfitted also with operable drawers, these devices transcend visual primacy and become functional storage for personal items, quite literally objectifying the silhouetted male forms…(excerpt from article).