objects simply relocate light and space and finish and its fetish in a different place in the universe. By embedding light
in color inside a laminated layered form, Colon reverses the usual dynamic of even an optic piece of art. The color and the
light come out at you from inside the work, it is emitted, it takes on the glowing character of light (not paint), all of
which is pleasingly disorienting to the viewer. Conceptually, when one imagines all the different ways in which post-minimal
painters a generation ago attempted to break free of the Greenburgian notion of the subordination of color and paint to surface
(in his construct of post-painterly abstraction introduced in Los Angeles), painting transmuted by an industrial process was
not an option that arose: therefore, Colon has also found a new place in the world for coloration in art that lies somewhere
beyond painting. That Colon can pursue this stratagem today indicates the degree to which the issue of color has scaled up
to include the wider twists and turns of the built world today.
Art in America.