In Untitled Paintings, Henderson loads the canvas with layer upon layer of paint, creating an almost theatrically excessive painting. These over-the-top accumulations are so removed from their now entirely invisible support that they become more sculptural than painterly. From here, Henderson doubles back: he sands the sculptural buildup down until arriving at a flattened surface of palimpsestic images, ghostly traces of paintings past. With their crisply painted edges, these paintings also assert their status as objects, a nod to their quasi-sculptural trajectory.