Carol Vogel profiles Ellsworth Kelly whose work is said to be riding a new vogue for abstraction typified by Hirst and Richter:

An obsessive archivist, Mr. Kelly has kept examples of his work from every decade of his career, studying them continually for inspiration, as a way to move forward. “He’s the last artist to repeat himself,” Mr. Storr said. “But he always comes back to his basic vocabulary: surface, scale, color, image. And he always gets it as simple as he can.”

The facade of Mr. Marks’s new Los Angeles gallery, for instance, was inspired by ”Study for Black and White Panels,” a collage he made while living in Paris in 1954, and a painting, “Black Over White,” created in New York 12 years later. Both are predominantly white with a black bar that floats in relief on the upper portion of the all-white stucco facade.

True to His Abstraction (New York Times)