Karen Grimson

  • Verónica Madanes, Enamorada del muro (In Love with the Wall), 2021, acrylic on canvas, 50 3⁄4 × 39 3⁄8".

    Verónica Madanes

    Living with unresolved questions can be disconcerting, especially during periods of great uncertainty, when life as we know it seems to become upended. Sometimes, a negative answer may offer some form of respite. A succinct sound with the power to contradict an idea or refuse consent, the word no was what Verónica Madanes chose to be the title of her recent exhibition of new paintings. The first-ever solo show presented at the artist-run space Fantazia, “No” captured the haziness and distress caused by the unpredictability of life over the past two years.

    Born in 1989, Madanes is an artist ridden,

  • Alejandra Seeber, We Were So Modern, 2000, oil on canvas, 45 5⁄8 × 69 1⁄4".

    Leda Catunda and Alejandra Seeber

    In the wake of lockdowns and other restrictions, “Alejandra Seeber / Leda Catunda: Fuera de serie” (One of a Kind) opened a year late. A highly anticipated project of transnational scope, the joint exhibition by Brazilian Leda Catunda and New York–based Argentinean Alejandra Seeber provided a survey of the work of two leading midcareer artists and presented a female perspective on the region’s developments in painting over the past thirty years. Curated by Francisco Lemus, the show was the inaugural iteration of “Paralelo 1 || 3,” a series that envisions simultaneous displays on the museum’s