When Gerhard Richter comes to town it’s news, as the throngs of Europeans who mobbed his traveling retrospective overseas can tell you, and his impact was certainly felt when he opened his fascinating—and, in the estimation of Peter Schjeldahl, “important”—new show at Marian Goodman Gallery this week. Heck, even the dresses going down the catwalk for Proenza Schouler, with motifs inspired by his paintings, seemed to register his presence. So: how does his new show measure on the Richter scale? It’s an unusual outing, to say the least, for the world’s most celebrated living painter, because the works aren’t paintings per se but rather painting-esque things: what he did was take a digital image of a single one of his 1990 abstract canvases and then run it through a mathematical process to isolate its chromatic DNA as a series of eye-boggling, colored “STRIPS.” Larger editions, when stared at for a while, disorient and pulsate with a Rothko-y foreground-backround switcheroo, while smaller prints displayed in frames seem more delicate and inky and are easier to take in. It’s an exceedingly cool show, with Richter’s decision to use his own painting as the Henrietta Lacks-like source of his material—instead of, say, a tree or a cathedral—giving the experiment an crisply omphalocentric edge. In an interesting way, these lines could be seen as a way to connect Damien Hirst’s dots: both are variations on a cerebrally antiseptic geometric theme that solely arise from and reflect back to the artist’s own intellection.