Since the 1980s, Rudolf Stingel has been interrogating his chosen medium, asking what is a painting, who makes them, and how are they made, in his own paintings, installations, and conceptual projects. Turning notions of authenticity, hierarchy, meaning, and context on their head, Stingel courts audience participation and uses unlikely materials in his work. He is known for covering exhibition spaces with carpeting (most recently the Palazzo Grassi in Venice), and with panels overlaid with malleable silver sheets, and inviting viewers to mark them as they please, likening the result to allover paintings, freed from the confines of the canvas, expected materials, and the hand of the artist himself. Stingel also produces more traditional-seeming oil-on-canvas compositions. Ranging from blurred to photorealistic, they position painting as an unreliable repository of memory, inevitably …