these are essentially the dead works of Gauguin made strange and given new life, but they definitively refashioned as a critique of Gauguin's work, and its, I would say starkly uncritical chronicle of empire." In “Debra Drexler: Resuscitating Gauguin” in NY Arts Magazine (May/June 2005), Molly Kleiman states, “The installation, an exercise in post-colonial appropriations and feminist inversions, is playful and subversive. She explores themes obliquely and cleverly, forcing no brittle lessons about the conflicts of post-colonial, no stubborn treatise on the poisonous male gaze. She doesn’t need to.” In Gauguin's Challenge: New Perspectives after Modernism edited by Norma Broude (Bloomsbury, 2018), Heather Waldroup writes, “The themes of the exhibition are wide-ranging, including a critique of ethnographic museums and, in particular, their display of human remains; the commercialization of the museum through gift show sales; and the continued validity of modernism in contemporary art worlds (Drexler is, primarily an abstract painter).” Shadow Play Between 2007 and 2010, Drexler worked on a series in which the imagery became more abstract, leading her to her current body of abstraction. In a review of Shadow Play at HP Garcia Gallery, Michael Carter wrote in A Gathering of the Tribes Magazine (June 25, 2010), ” Like the most powerful abstract paintings of the last century, reproductions can only provide a crude chart of her stratagem; the luminosity of the oils themselves, along with their deft application can really only be truly appreciated in person. These are rare works, which show an artist struggling with and for the spirit.” Exhibitions and recognition Some significant venues that have exhibited her work include Exit Art, New York (2010–11), White Box–The Annex (solo, 2005), Honolulu Museum, Hawaii (solo, 2002), and The Schaefer International Gallery of Maui Arts and Cultural Center, Hawaii (solo, 2003). Drexler's work was selected for “The Intuitionist” at The Drawing Center (2014) which also featured the work of Kara Walker. In “From Here to There” at Art Finance Partners, New York, curated by Robert Edelman, the legacy of the New York School and its connection to contemporary painters was explored. She exhibited with historically significant painters, including Willem de Kooning, Sol LeWitt, Yayoi Kusama, and Frank Stella. She has a forthcoming three-person exhibition at Maui Arts and Cultural Center (2020). Drexler is represented by Front Room Gallery, New York, and has worked with a number of galleries in New York, Brooklyn, and New Jersey, including