“Baker is … wedded to the tradition of oil painting, observing the relation of unit to part, part to whole. The juicy rods can be thought distant descendants of Cezanne’s constructive brushstroke… Baker’s special rhythms and sequences are very much the keys to his distinctive thought processes and responses… [He] adheres to the dialectic of variety and unity that has traditionally constituted the classic understanding of form.”
—Geoffrey Dorfman, from the catalogue essay for The One and the Many