In “The Basement of Alamo,” Alex Hubbard transforms the Eleni Koroneou gallery into a laboratory of zymosis. For his first solo exhibition in Athens, the artist has presented a new series of seven paintings, all made in 2011, which rely on a dynamic juxtaposition of different materials and applications. Employing acrylic, resin, and fiberglass, the paintings heed to a dramatic clashing of form and color that results in a radical polyphony. Part-print, part-painting, these images become part of a nameless genre: although bearing traits of abstract expressionism, the aesthetic of any “accepted” visual art trend is clearly nullified. Fluid forms merge together in a choreography of the senses. A gestural painterly drip is posited in contrast to the flatness of the printing process, alluding to a certain kind of emotional indecisiveness between the accepted and the unexpected, the solid and the instinctual. Arthur Danto describes modernist art as an art defined by taste and made essentially for people with taste, while he discusses the end of modernism as the exodus from the tyranny of taste and the welcoming of the anti-formal and the anti-aesthetic. And this seems, in a way, quiet true. Yet Abstract Expressionism—as other exemplary movements—was more discussed as …