Wayne Koestenbaum

Maria Lassnig, Prothesenselbstporträt (Prosthesis Self-Portrait), 2000, oil on canvas, 49 1/2 × 39 3/8".

1 MARIA LASSNIG (MoMA PS1, NEW YORK; CURATED BY PETER ELEEY WITH JOCELYN MILLER) Lassnig meets my eye’s hunger by offering the entire banquet of “body,” rendered with expressionistic ease and candor, as if the Blue Rider had ridden straight over patriarchy and found itself in a post-apocalyptic world where virtuosity doesn’t shun the messy, the morbid, or the pugilistic. Swift, unforced lines and impossibly up-front colors limn bodies exploding with a joyful anger that elucidates rather than shatters.

Co-organized with the Neue Galerie Graz, Austria.

2 TONY FEHER (BRONX MUSEUM OF THE ARTS, NEW YORK; CURATED BY CLAUDIA SCHMUCKLI) For years, I’ve felt Feher’s assemblages of found objects—domestic, utilitarian, cute—to be the most viscerally satisfying sculptures in this or any town. He collects and arranges his colorful foundlings with custodial precision—a kinky rigor

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