A few days ago in New York, The Hole opened up a new exhibition from Morgan Blair entitled I’m Holding A Sword. And An Axe. I’m Gonna Do Nothing. Like many young artists, her work is informed by internet culture, where she sources her imagery for her abstract paintings as well as where she draws from to create the long nonsensical titles to her pieces (like for one above – Broth Was the First to Abandon Our Commonly Held Ethos Around the Mini Bekeychained Bottles of Extra Virgin Coconut Oil, Having Drafted an Email to All of Us Airing His Grievances With the Product, and Then With Each of Us. It Was the First in a Series of Escalating Transgressions That Culminated in the Now-Infamous Crudities Incident, the Specifics of Which Are Frankly Too Disturbing to Describe During This Moth Story Slam, but Suffice It to Say That the Pivotal Moment Was the Reason Michael Keaton Still to This Day Cannot Even Look at a French Breakfast Radish, and Sparked the Series of Events Leading to the Show Horse That Was Present for the Iceberg Wedging Ceremony Having to Be Shot and Killed After Getting Its Leg Stuck in the Queso Fountain). The beautiful new series of works from Blair features an eye-catching color palette, accentuated with gradients and a 3D sculptured quality that comes from sketching out the painting with clay in advance. One room of the space features an entire floor painted and textured with layers of colors that mirror the sensibilities of her new pieces.