Sarah Lookofsky


October 2016

Mobility—of both people and art—was the primary focus of a recent show of the Polish team KwieKulik, composed of Zofia Kulik and Przemysław Kwiek, who collaborated between 1971 and 1987. Several works in this show, “The Monument Without a … READ ON

IN PRINT October 2016 [TOC]

Nasreen Mohamedi

The Met Breuer

April 2016

In her landmark essay on the grid, Rosalind Krauss outlined the form’s reductive modernist ontology, and its exemplary capacity to align the work of art with its material support. In several diaries presented in Nasreen Mohamedi’s inaugural… READ ON


Barbara T. Smith

Andrew Kreps Gallery

March 2015

There was a time when the words “Orange County art scene” did not summon images of Real Housewives and dolphin statuary. In the 1960s and ’70s, Southern California was a hotbed of experimentation, resulting principally from the preponderance… READ ON


Cristiano Lenhardt

March 2015

The idea that an object exists only because the force holding it together is stronger than the force pulling it apart was the stated subject of Cristiano Lenhardt’s recent solo show “Matéria Superordinária Abundante” (Superordinary Abundant… READ ON

IN PRINT March 2015 [TOC]

Judith Scott

Brooklyn Museum

December 2014

In Antoine de Saint-Exupéry’s Little Prince, the narrator recounts testing grown-ups by presenting them with a drawing of a boa constrictor digesting an elephant. Most adults recognize it as a hat, causing the drawing’s maker to never again… READ ON


Mariana Castillo Deball

November 2014

The visual techniques of colonialism—and their tenacious legacy in the present—were the focus of the Berlin-based Mexican artist Mariana Castillo Deball’s recent show “Vista de ojos” (View of the Eyes). Three larger-than-life photographs … READ ON

IN PRINT November 2014 [TOC]

Harun Farocki

Greene Naftali Gallery

September 2014

In the rear gallery, a film documents a young, naked woman with a billowy 1980s hairdo and slip-on heels who reclines stiffly, her back arched, on a small stage. She has pillows below and around her, but they don’t provide support. Photographers… READ ON


Jill Magid

Art in General

November 2013

Ours is no doubt an age of privatization as increasingly anything can become subject to private purchase. This transfer of ownership does not only entail the object of sale but also involves ever more elaborate ways of limiting access to its… READ ON


“Death of a Cameraman”


October 2013

A cell-phone recording filmed in Homs, Syria, in 2011 functions as the curatorial conceit for the winning entry for Apexart’s recent Unsolicited Proposal Program. A literal shot-reverse-shot culled from YouTube, the video depicts the moment… READ ON


Francis Cape

Murray Guy

July 2013

What if the things we hold and use were manifest condensations of the ways in which we live? Such is the logic of Francis Cape’s recent exhibition “Utopian Benches.” In the gallery are seventeen poplar benches, assembled in a setup that … READ ON