In the last few years, I have cited Martin Kačmarek’s work in numerous writings about a new wave of social realism. What I find interesting about Martin’s paintings is that, like nearly 100 years ago, especially in America of the post WWI, pre WWII era, is the depictions of labor in both the fine arts and muralism. Here we are in 2024, and perhaps we see the connections of that time and Martin is right smack in the middle of a beautiful Ashcan meets Precisionism revival. That Martin Kačmarek is from Slovakia, and his new solo show in Brussels at Super Dakota called Short Roots, recalls times spent on his family’s farm, it all feels so relevant to understanding both our past…