The interpretive maze that has grown up around Richter’s oeuvre has at times distracted viewers from the fact that the pictorial maze he has built within that critical outer structure is made not merely of pictures – images subject to the kind of semiotic analysis that would treat them all as essentially the same regardless of their material presence – but of paintings whose meanings can be grasped, if fleetingly and with difficulty, by the fully alert senses in tandem with an agile, rather than dogma-bound, mind. Furthermore, one would have hoped, a dozen years after the 1980’s, that even the most hard-line opponents of painting’s resurgence would concede that there is little left to gain and perhaps something of significance to be lost by continuing to use painting as a rhetorical whipping boy. Painting is no longer the dominant medium it once was. There is no urgent need to topple it from its pedestal when other practices have begun to crowd painting on an equal, or nearly equal footing. Moreover, the new art forms championed at its expense have begun to show their age and accumulate the burdens that come with tradition in any medium. And, insofar as special political and social status was accorded those art forms because they were ignored by the market or otherwise escaped the corrupting effects of commodity capitalism, which had supposedly compromised painting beyond redemption, recent expansion and diversification of the market have deprived them of that virtue.
Robert Storr, Gerhard Richter: Forty Years of Painting, p.18, 2002