T he realities of the museum world being what they are, the exhibition is, of course, accompanied by words in the form of a modest catalogue with a short introduction by the artist, who also selected the works in the exhibition. Two essays follow. The catalogue's reproductions, with the exception of the 1996 gouache effectively reproduced actual size on the cover, range from inadequate to deplorable, providing no idea of the subtlety, vivacity, or richness of Forge's work. Neither the camera nor the four-color process, it seems, is up to the demands of translating these difficult pictures into something intelligible and visually stimulating, at a reduced scale. But then, neither are words.
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