Gordon Bennett always tells a good story, and a major attraction of his work is its narrative structure. Not any more. His recent abstract paintings forsake the discursive qualities upon which he built a very successful career. Bennett has a history of abandoning successful modes for new ones, but nothing in his oeuvre matches the audaciousness of this turn. Be it radical, risky or simply foolish, what other artist in his position would (or could) make such a wild move?