NEW YORK, NY.- In Achim Hochdörfer’s article in the February 2009 Artforum entitled “A Hidden Reserve: painting from 1958 to 1965,” the author names a number of painters included in this exhibition, “Whose practices are rich with implication.” Le Tableau, continuing the conversation begun by Hochdörfer, attempts to expand his time frame historically, with a particular focus on the contribution of French abstraction from the post-war era through the present. There has been a longstanding rejection of French painting due to American triumphalism and a misplaced sense of competition by artists and critics of all stripes. French painting now seems timely in that the identifiably American notion of the “flatbed picture plane”appears banalized, having exhausted most options left for abstraction. Here, the emphasis