Becky Huff Hunter

Shelley Spector

Philadelphia Museum of Art

August 2015

Shelley Spector’s exhibition “Keep the Home Fires Burning” exists in an archival mode—as seen in other recent shows by Krüger & Pardeller and Willem de Rooij—in which the artist turns toward a museum collection as the basis for … READ ON


“Word & Image: Contemporary Artists Connect to Fraktur”

Free Library of Philadelphia

May 2015

“Word & Image”—one of two shows together presented as “Framing Fraktur”—sprawls throughout the Free Library’s lobby, corridors, and archives, exploring ties between historical fraktur—eighteenth- to nineteenth-century Pennsylvania… READ ON


Joy Feasley and Paul Swenbeck

The Fabric Workshop and Museum

November 2014

“A Hatchet to Kill Old Ugly” is a three-part exhibition in the Fabric Workshop and Museum’s storefront project space that comprises a Shaker-inspired domestic interior, a dim crawl space, and a back-room atelier swarming with colored … READ ON


Emily Erb

Delaware Center for the Contemporary Arts (DCCA)

January 2014

For her solo debut, “Legal Tender,” painter Emily Erb directs attention toward some of the United States’ most difficult historical passages by presenting dollar bills as surrogate American flags. Erb began working with U.S. currency … READ ON


Lynda Benglis

Locks Gallery

June 2013

“Everything Flows (1980–2013)” is a small but dramatically staged exhibition that traces Lynda Benglis’s exploration of form via seventeen of her human-scale metal, ceramic, and polyurethane works made over the past four decades. … READ ON


“Excursus III: Ooga Booga”

ICA - Institute of Contemporary Art, Philadelphia

November 2012

Twice a year, Philadelphia’s Institute of Contemporary Art invites an artist, designer, publisher, or other cultural practitioner to create an installation responding the institution’s history, architecture, and current exhibitions. The… READ ON


Martha Wilson

Arcadia University Gallery

September 2012

“THE ARTIST OPERATES OUT OF THE VACUUM LEFT WHEN ALL OTHER VALUES ARE REJECTED,” notes Martha Wilson in her early photo-text composition A Portfolio of Models, 1974. Referring to her negotiation and subsequent refusal of cookie-cutter … READ ON