”It looks almost traditional, an oil on panel, meticulously glazed. But really, it’s a portrait of European and American History as a colorful tumor. It’s as if the Dutch Painters had ingested some magical psychoactive that allowed them to see the full scope of history ahead — American Colonialism, the Genocide of Native Americans, the seeds of racism and social injustice, the prison systems, the ghettos, the rich history of oppression beginning in those first celebratory brush strokes… Everything, all at once. Their still lifes exploded with globs of flesh sprouting symbolic tattoos. Their portrait faces of Colonial figures ate themselves, caved in and grew over with greasy ridges, instant scar tissues sucking arrowheads further inside. But theirs didn’t. Van Minnen’s did.”