The Wall Street Journal
by Peter Plagens
August 17, 2013
These days, in a 21st-century art world that seems as different from the formalist passions of 40 or 50 years ago as Dada was from court painting patronized by the Habsburgs, Mr. Olitski's work has assumed the status of stately, historical objects. This is pleasantly evident in the yearlong installation of eight large paintings and an Anthony Caro-esque sculpture in the lobby of a Midtown skyscraper called Tower 49.