The longer the visitor stands before these landscapes, the more it becomes clear that their realistically represented subjects are subordinate to their finely painted detailing and decentered arrangements. Like the painter working from her window in the sky, the viewer, virtually hypnotized by the city’s precise hues and resonant tones, becomes lost in the grids of color far below, and steps, as it were, into competing sensations of ascension, suspension, and compression. […] In “Whitney Museum Under Construction” (2013), the cantilevered crane and the rising beams of well-engineered gentrification are set against the streaking headlights that curve along the high speed, multicolored lanes of the West Side Highway. The Hudson River, painted in undulating blue, stretches calmly beyond the museum’s construction site, out into an expanse lit up only by arbitrarily positioned boats that themselves seem to be painting lines upon the currents as they cut through the water.
Tim Keane on Yvonne Jacquette (Hyperallergic)