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In March, New York’s David Zwirner opened its first solo exhibition of Gerhard Richter’s work since the painter’s defection to the megagallery from Marian Goodman, his gallerist of thirty-seven years. The show featured fourteen of his last paintings, completed in 2016 and 2017, made before the artist, now ninety-one, declared his retirement from painting. It also contained seventy-six drawings the products of the practice that replaced the physically arduous process of painting for Richter and a single glass-and-steel sculpture. If one were looking for a kind of retrospective, or a coda and

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