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By 1980 Walter Robinson (born 1950) had established himself as a critic for Art in America and member of the New York artists' collective Collaborative Projects. He became notable for paintings of square-jawed detective-hero types and swooning vixens based on pulp romance covers. Employing what critic Carlo McCormick termed a "devious sense of irony done with incredible sincerity," he examined painting's relationship to mass-culture images of desire, mining lurid illustrations from the 1940s and 50s and rerepresenting ...

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