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Henry Geldzahler and Frank Stella included him in "Shape and Structure," at Tibor de Nagy, on the cusp of Stella's first Irregular Polygons, in addition to Donald Judd, Will Insley, and 8 others. Find More Details On This Page can practically imagine Judd's metal boxes running up a wall as painting. Hinman was creating similar mix of shape, structure, and color in shaped canvas.

If anything, a burst of activity as he turns eighty clarifies things. He still uses curves, like Stella's Protractors or the ovals of Ed Clark, an African American frequently credited with the first shaped canvases in the 1950s. He still stretches fabric over several frames, like the molded form of an auto.

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The dominant line, however, is a hard, straight edge, and the dominant shades are of white. Irregular polyhedra develop on oblique triangles and trapezoids. Easier rectangles raid or stand one in front of another, as for Jasper Johns, but with a noticeable space between themor between them and the wall.

Often a color belongs solely to the edge of a work, or so it seems, up until one notices that Hinman has actually painted the back. In all these ways, he is dealing with light as much as with a brush and a miter. In these ways, too, he is not simply shaping an object, but likewise taking it out from the wall.

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And again the odd part is how little shaped canvas, consisting of theirs, has actually stuck out from the wall. Nearly invariably, as with Stella, Ellsworth Kelly, Richard Tuttle, or perhaps the saddle shapes of Ron Gorchov, it has suggested forming the image aircraft and the color fields within. In time, Stella's unrelenting reasoning and large madness for Judy Pfaff brought them closer to sculpture, however that took changes in products from canvas to metal or plasticand Stella's reasoning would still do Greenberg happy.