like pebbled-glass windows (Those and These, 2010), benday-dot print patterns sometimes suggesting peepholes (Dance, Dance, Dance, 2011), and minimal intimations of skies and landscapes (OHCE, 2014), which he adorned with paintings of eyes, interiors and other subjects. In 2017, Blair suspended his work on sculpture and took up oil painting. The subjects of those paintings are consistent which his gouaches—sometimes the same image—but the oils have a different physicality, including very slight impasto and intaglio. Around the same time, he began producing drawings, something that had not previously been part of his practice.<ref name="Blair19">Blair, Dike. [https://www.worldcat.org/title/dike-blair-drawings/oclc/1150819117&referer=brief_results Dike Blair: Drawings], New York: Karma, 2019. Retrieved December 1, 2020.</ref> Early career Blair was born in 1952 in New Castle, Pennsylvania. He studied art at the Skowhegan School of Painting and Sculpture, Whitney Museum independent study program, and University of Colorado, Boulder, and earned an MFA from School of the Art Institute of Chicago in 1977. He was part of the late 1970s New York art scene, performing at CBGB (1976) and frequenting art bars like Magoo’s, The Mudd Club and Barnabus Rex. His early artwork consisted of abstract, formalist wall works made of acrylics and enamels poured and sprayed onto paper, Masonite and glass.Cohen, Ronny H. "Dike Blair," Artforum, January 1982, p. 78–80. Retrieved November 17, 2020. In the early 1980s, he began—somewhat ironically—painting small, illusionistic gouaches of sailboats, initially from observation or memory, akin to Sunday painting. He eventually integrated them into wall constructions, shown at Baskerville + Watson (1986) and Cash/Newhouse (1987).Heller, Sally. "Dike Blair," 108 An East Village Review, January 1987, p. 2. This work evolved into more widely known installations, such as his 1991 show at Ealan Wingate, based around photographs he took at Disney's Epcot. The show featured mixed-media images installed in a darkened room scored to Muzak, and decorated and carpeted in mauve with plants and suburban benches; reviews described it, alternately, as suffused with loss and nostalgia, soothing, and surprisingly spiritual. Other professional activities Blair's professional activities include writing and teaching. He has contributed articles and reviews to Artforum, ARTnews, Art Press, Bomb, Harpers, and Parkett, and served as contributing and associate editor for the Parisian magazine Purple, writing about design, music, technology, film, art and architecture.Blair, Dike. "Anti-Column," Purple, Fall/Winter 2014, p. 352–3. Retrieved November 20, 2020. He has also written the books Again: Selected Interviews and Essays (2007) and Punk (1978, with Isabelle