An excerpt from PALMER, Vol 4, Ch. 1, True Colors by Linda Yablonsky

An artist who starts at the top usually has only one way to go. Not David Salle. His grip on the art world has had little slippage since the early 1980s, when his cacophonic, multi-paneled paintings caused quite a bit of rubbernecking in the galleries of Mary Boone and Leo Castelli. At the time, they were, respectively, the hottest art dealer in SoHo and the most influential in the world. Museums and private collectors came calling. Magazines profiled him. Every exhibition sold out.

Salle (pronounced Sally) did not buy into the pyrotechnics of fame, nor did he rest on his laurels. Indeed, if his creative output explains anything, Salle doesn’t rest at all. When he does take a break from making art, it’s mainly to write about art. In 2016, he anthologized his conversational exhibition reviews for Town & Country, the New York Review of Books, and other publications in the book How To See: Looking, Talking, and Thinking About Art. People who do all of those things sang its praises.

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