Gerhard Richter has never been an artist I was interested in. Except for his 1980s’s black and white photo paintings titled “18 October 1977,” of images documenting the death and imprisonment of RAF members from that left-wing militant organization, which have a certain degree of emotional power and deep political statement, I’ve always seen his work as slick, his use of the squeegee a simplistic method to get nuance, and in general a lack of true resonance expressed. However, the paintings, and many of the works on paper hanging at David Zwirner Gallery through April 29 are quite strong indeed. Richter now is 91, and these pieces might very well might be his last. With nods to traditional abstract art, Richter’s recent paintings, made between 2016-17, have a density, a suggestion of the doom and angst underlying those photos from decades ago, and – perhaps more consciously – an expression of encroaching mortality, and reflections on a long life of social, political and personal awareness. The works on paper, made with ink, graphite and colored pencil between 2021-22, are quite controlled, but still exploratory, open and felt. With the title of “Mood” for the entire series, areas of soft-focused smudges contrasting with tight geometric lines, and absolute mastery of his materials, Richter seems to be experimenting with how light and form suggest moods and the complex simultaneity of amorphous feeling and structured environment. These works exude a sense of integrity, emotional conviction, and rigor. I highly recommend a visit to this show, but be sure to give yourself a lot of time, as the drawings go on forever and become hard to take in. Posted here is only a tiny sample