Jerry Saltz at New York Magazine:
Ten paintings. Each engaging; each mysterious; each stranger than the next. Vivid color, erotic tension, mistrust, and atonement for what society has deemed are perverse games of sexual desecration. The figures in Kyle Dunn’s Night Pictures, now on display at P·P·O·W gallery, exist in suspended states of crisis, in the throes of jealousy and loneliness, withdrawn into shadow — burned out, exhausted, beautiful.
In Paper Angel, a naked male figure is crouching alone in a room, in front of a mirror, looking at a pile of books, food, and other paraphernalia. He personifies procrastination as a creative force. Is he the subject of an invisible painter, the painter himself, or an apparition for a painting? A paper cut-out of an angel adorns the wall, witness to a prayer of desire. The painting is also a superb topological map of open wounds. Here is a world without eros, no “other.” Just wistful longing.