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Fernando Mastrangelo has spent the past few years condensing powders into bricks of social critique. He pressed corn meal pressed into an Aztec calendar criticizing NAFTA. Human as
The term post-critical has been thrown around in recent years to describe the ideals of hybridity and inclusivity governing much contemporary art. In this context, the exclusive ca
In a midnight-blue room at the back of this gallery hangs a lonesome work (Untitled [XIX L], 2007) by James Turrell: a small reflective hologram of two polygons, joined along one e
The Seoul Station, a major railway station built in 1925, witnessed the sociopolitical upheaval of modern Korean history until it closed in 2004. Last year it was resurrected as
Manhattan is an odd tabula rasa. In the press release for his latest exhibition, James Nares is quoted as saying that Lower Manhattan “nurtured the talent of a generation inspire
Buster Graybill’s exhibition “Progeny of Tush Hog” takes advantage of a symbiosis between Minimalist form and the importance of setting in a way that is both playful and smar
Visitors are welcomed to Rafael Lozano-Hemmer’s exhibition by a conveyor belt with a computerized scanner where they are invited to place all sorts of small objects that they can
Curator Chris Murtha’s tightly packed exhibition handles with grace what might seem to be an unimaginative enterprise: displaying still-life photographs in a horticultural societ
An installation of three silent, one-minute films by Roy Lichtenstein gives a rare glimpse into the Pop artist’s experiments in 35-mm moviemaking. Created during a two-week resid
What purposes can monuments now serve, in a culture so full of messages, meanings, and temptations? That question underlies the exhibition “Portable Monuments” at Galerie Gabri
In the neon pink zine-catalogue produced for this group show, curator Amy Smith-Stewart describes a heightened cultural hostility to women’s bodies fostered by contemporary mass
Slowed to near stillness, the eight video portraits on view in Brian Bress’s latest exhibition, “Under Performing,” show their subjects in various states of physical duress.
