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Bending Steel and Distinctions
By Benjamin Forgey
The Washington Post
(May) 1987

. . . Kent's paintings, especially those in the "Votive" series, are strangely august. Strangely, I say, bcause at first I was somehow put off by the combination of rough surfaces and seemingly derivative minimal forms. But good minimal paintings are like that—they take time to see. These are tall, near-rectangles of heavily worked canvas; always painted in a particular color tone—violets or grays or blacks. Crucial to their effect are stiff slivers of wood inserted in the middle of their vertical edges. Very human in scale, they seem intensely proud. . .