Everything about the Big Bungalow Suite is in the giant order—pushing the boundary of the conventional into the monumental,” writes essayist John DeFazio in the monograph Robert Rahway Zakanitch (Pomegranate, 2016). In acrylic on canvases some eleven feet high and thirty feet long, the five paintings making up Zakanitch’s Big Bungalow Suite ennobled objects and themes usually considered ordinary, domestic, or “simply decorative.” DeFazio puts forth that Zakanitch’s subject in this suite is “painting itself—its investigation into the nature of pattern and design, of scale and form, of both high and low taste, and, most importantly, of what art was, is, and can be