Since 1990, Maxwell Hendler has been doing the same thing: pouring a layer or two of liquid resin over a plain wood panel, laid face-up in his studio, letting it dry for a few days and then sanding and buffing it for hours and hours, until its surface is a glassy slab of radiant color. Although the process is laborious — as repetitive as picking strawberries all month or hand-sanding a house — the results are exciting. Every painting is its own thing: its dimensions in sync with its color, sheen and degree of translucence so that it seems perfect, as sensible as a Quaker table and as sexy as a Ferrari. Perfection and aesthetics do not usually go together, but Hendler’s deliciously mysterious monochromes make their pairing seem natural, part of a cycle that is bigger than any of us and sublime to contemplate. (http://articles.latimes.com/2013/jun/28/entertainment/la-et-cm-art-review-maxwell-hendler-manny-silverman-gallery-20130625)