Mignon Nixon

  • Louise Lawler, Il m’aime, un peu, beaucoup, passionnément, à la folie, pas du tout, 2008/2009, Cibachrome print mounted on Plexiglas, 47 3/4 x 55 3/4".

    “Louise Lawler: Adjusted”

    As soon as you learn that a Louise Lawler retrospective is afoot at the Museum Ludwig, you want to hear the punch line. After all, Lawler is an artist celebrated for exposing such rituals to sly scrutiny. So here it is: Along with a significant selection of her canny behind-the-scenes-photographs of museums, galleries, auction houses, and private collections, the show will feature ten new pieces—tracings, in the deadpan style of coloring books, of her own previous work. This witty take on the career survey will also include two site-specific “stretched-to-fit”


    A pickax and a spade, a spade,

    For and a shrouding sheet;

    O, a pit of clay for to be made

    For such a guest is meet.

    WHEN HAMLET ASKS THE GRAVEDIGGER, “Whose grave’s this, sirrah?” he receives the answer, “Mine.” Nira Pereg’s three-channel video installation Kept Alive, 2009–10, filmed at Jerusalem’s Mountain of Rest cemetery (Har Hamenuchot) and shown earlier this year at the Tel Aviv Museum of Art, similarly asks: Whose grave’s this? In Jerusalem, the question is ominously political. Metal striking rock. What harder sound? A narrow grave in stony ground. What tighter spot? The Mountain of Rest

  • View of “Roni Horn aka Roni Horn,” 2009, Tate Modern, London. Foreground: Things That Happen Again: For Two Rooms (detail), 1986. Background: Could I, 1995.

    Roni Horn

    IS MINIMAL DIFFERENCE a major subject? Even so-called identicals, Marcel Duchamp observed, reveal shades of difference, which he memorably called infra-thin. Roni Horn’s work mines that proposition exhaustively, asking us to find differences in things and then to question why we need them. For Horn, the terrain of likeness—that which is similar, the same yet different, akin, or simply close—encompasses a panorama of experience. Her work dwells on differences of degree that, she suggests, constitute as profound a representational problem as the starker discrepancies that conventionally