In 1985, The Guggenheim Museum in New York mounted an exhibition of contemporary young artists, called “New Horizons in American Art” that included the work of Tobi Kahn. Kahn’s featured paintings were abstractions of landscapes, the images anchored in black artist-made frames, the palette dark, the paint applied thickly and worked strenuously, the effect serious and, at times, somber. In many ways, that exhibition established Kahn as an artist worth watching and following.
Now, a whole caree…
