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Each detail in the eight works on view as part of Noam Rappaport’s debut show at James Fuentes is remarkably self-possessed. By detail, I mean a dash or dab of paint; a single, s
Because we know how her story ends, Francesca Woodman’s retrospective reads equally as psychological study and survey exhibition. Before her suicide at age twenty-two, Woodman ha
In three concurrent shows, Nunzio presents recent sculptures in wood and lead that reveal a dialogue between luminosity and darkness, weight and lightness. At Alessandra Bonomo, Se
Brian O’Doherty’s overdue solo debut in Germany centers around Portrait of Marcel Duchamp, a series of objects that begin with a cardiogram O’Doherty made of the famed French
“Dan Flavin: Drawing,” the first museum retrospective of his rarely seen work on paper, includes numerous sketches the artist made en plein air, indicating a predilection to es
In his 2007 Harper’s magazine essay “The Ecstasy of Influence,” Jonathan Lethem probed the boundary between creative influence and plagiarism. Citing Bob Dylan’s borrowings
Concrete verbs form the foundation of Tauba Auerbach’s latest show, “Float.” Possessed of the systematic logic of Sol LeWitt and the perceptual fetish of Bridget Riley, Auerb
The sociological output of Dutch photographer Rineke Dijkstra appears simple enough on the surface. Yet, as this retrospective emphasizes, her enigmatic work is continually strengt
The impact of Frank Stella’s early fusillades in black, aluminum, and copper is too enormous to distill, nearly fifty years after their conception. Beloved and enigmatic, the pai
In his latest exhibition—comprising three films and a set of screenprints— Duncan Campbell juxtaposes television network footage with dramatic reenactments while using structur
The watercolors at HangarBicocca by Yervant Gianikian and Angela Ricci Lucchi, created in the 1980s, comment on daily life and travels and Armenian fables, as well as on seven vide
The simplicity of the one thousand–plus works in Josef Albers’s “Homage to the Square” series, 1949–76, is utterly deceptive. Layering colored square upon colored square,
