Debra Bricker Balken, who curated an exhibition of the Park Avenue Cubists at New York University’s Grey Art Gallery in 2002, writes, “The issue of originality, on which the future of their art hinged, is one which in the early twenty-first century endowed the work of the Park Avenue Cubists and the AAA with new currency. What with contemporary artists having raided art history’s closets in the past two decades, appropriating freely from any number of visual sources, the idea of authorship is being sharply questioned, once again. Although clearly distinct from the critiques of modernism which many artists have recently employed, the work of Gallatin, Morris, Frelinghuysen, and Shaw perpetuated rather than undermined the foundations of modernism, borrowing unashamedly to construct lucid, accomplished, and at times ingenious works of art. Therein lie their defining hallmarks, and their singularity” (The Park Avenue Cubists, New York 2002, p. 2).
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