Black abstractionists are getting another well-deserved look. The market success of such stalwart artists as Sam Gillian and Jack Whitten have led museums and dealers to evaluate the work of others who have been working under obscurity since the 1960s. Guyana-born painter Frank Bowling has doggedly stuck with abstraction for over five decades; riding out figuration trends and dodging peer pressure towards political activism. Bowling owes a large debt to color fielder Barnett Newman but achieves transcendence through pouring and staining overlapping tones that morph into luminous shimmering lines and discrepant collaged surfaces with broken edges. Yet politics is seeping through quietly. Like a bothersome gadfly, under washed out bands of color, Bowling tacitly inserts the specter of Afro Caribbean colonialism and the dogmatism that haunts African American history. It culminates in his majestic map painting “Dan Johnson’s Surprise” which is currently covering an entire wall of the Brooklyn Museum’s blockbuster exhibition “Soul of a Nation: Art in the Age of Black Power”. A recognition long overdue! At Alexander Gray through October 13.