Sideshow presents an exhibition of new work that reflects the latest trends in the Williamsburg Art Community and the Manhattan Art Scene with "WHO'S AFRAID OF RED, YELLOW, AND AlizarinCrimson'' As any discerning viewer of today's art world has discovered COLOR IS BACK, in a big way. All over town, in artists studios, important art galleries and major museums there are scores of exciting exhibitions that underline the diversity, vitality, richness and expressive viability of the language of color.

WHO'S AFRAID OF RED, YELLOW, and ALIZARIN CRIMSON reflects the diverse, nondecorative but expressive strategies that today's artists have been utilizing to apply color in a wide variety of methods and material. The psychological and emotional impact of color is joined with the technology of the now in the works of photographer Susan Daboll in her minimal prints The computer generated digital abstractions of Bob Griffin. John Micoffs deeply layered alchemy of pigment and oil, John Zeller's mapping of terrain with unnatural buzzing color. The Miroesque painting of Larry Deyab. The paintings of Ronnie Landfield reflect his longtime use of the psychology and emotion of color as language. The exhibition reflects the diversity of interests of today's artists who experiment with new uses of color.

Ever since Barnet Newman titled a series of paintings "Who's Afraid of Red, Yellow and Blue" in 1967, perhaps in eloquent defense of the young Park Place Gallery artists whose use of primary colors brought them under attack, color in painting has attracted misunderstanding, controversy and for many years contempt. It used to be said the only problem in painting is which color and where do I put it? And yet as an expressive, viable, psychological and articulate resource for artists - nothing has replaced color and nothing will. As humans who think and feel - our attraction to works in the language of color is real and as diverse and as indispensable as our attraction and immersion to music.