“Hands can convey so much”, Henry Moore once said, “they can beg or refuse, take or give, be open or clenched, show content or anxiety”. For an artist, the hand signifies evidence of authorship and indicates individual expression. During much of his four decade-long career McArthur Binion has made auto-biographical documentation part of his artistic signature. In a new series of works, the artist considers his own hand as emblems of individuality, identity and place of origin. Methodical grids of the artist’s handprints form the base of these paintings which are obscured by a latticework of lines rendered in his idiosyncratic crayon and oil stick. Optically, Binion’s palm prints on grounds of amber, mahogany and graphite morph into a hypnotic kind of abstraction that evokes the texture and materiality of some woollen fabric or the patterns of a well-worn carpet. Anthropologically, they are documentations of individuality and coherence and directly counter Glen Ligon’s repetitious language grids as patterns of erasure. As such they are not cautionary tales of handing over one’s identity but instead go hand in hand with cataloguing the essence of history. At Lehman Maupin through March 2.