“By valuing content, Golub was ultimately staging a critique of real world powers; being a painter in his particular time, he was doomed by the constant assumption that he was critiquing the art world. He inverted the staunch morals of form that we call Greenbergian Modernism and reassigned morality to the only beings that actually have it: people. His canvases are not action painting, but paintings of action. A journalist’s job is to analyze riots. What Golub did was make us look at the fight and ask why it was happening. His subjects are the pawns, not the powerful, and the only commodities we see are guns. He shows us the moment when violence has become inevitable.”