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critics' picks

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Washington, DC


Harry Callahan

Harry Callahan began making photographs in 1938, at the age of twenty-six, teaching himself to use a camera while working as an accounting clerk for General Motors in Detroit. The

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Los Angeles


Emilie Halpern

The key to Emilie Halpern’s second solo exhibition at this gallery turns upon the relationship of what one encounters on the floor to that on the walls. On the floors of two sepa

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London


Yuri Pattison

Yuri Pattison’s current exhibition at this gallery, which is located in an industrial park, gives the archiving of visual information in both real and virtual storage spaces the

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New York


Greg Parma Smith

If paintings produce painters, how might one understand this painting subject correctly? Certainly correctness is relative to its milieu, so in what sense can painting’s social p

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London


Brian Griffiths

Brian Griffiths’s brand of quasi-Victorian Arte Povera reanimates the detritus of fantastical culture to carnivalesque effect. He is known for large-scale sculptures and motley o

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New York


Sarah Sze

Occupying adjacent galleries on the Asia Society’s second floor, eight new installations by Sarah Sze, all from 2011, meet with a selection of her works on paper from the past fi

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Miami


Fernando Mastrangelo

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

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Toronto


“Coming After”

Spanning installation, drawing, photography, performance, and video, this ambitious exhibition brings together sixteen artists—almost all of whom were born after 1970—whose wor

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New York


“Nature Morte”

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

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London


Grayson Perry

Priceless artifacts from the British Museum’s vast collection come into dialogue with Grayson Perry’s sardonic wit in “The Tomb of the Unknown Craftsman.” Perry explores hi

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New York


“The Displaced Person”

Alienation, it would seem, can be a creative force for inclusion. And, as each of the artists in “The Displaced Person” proves, one is rarely found without the other. Freud vie

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North Adams


“The Workers”

In Oded Hirsch’s fourteen-minute video Tochka, 2010, a dozen men build a rickety bridge across a shallow gorge in a lush green landscape. Dressed in blue workmen’s uniforms wit

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