1 “CONCRETE CUBA” (DAVID ZWIRNER, LONDON) This exhibition introduced me to the dynamic work of the Diez Pintores Concretos (Ten Concrete Painters), a largely unknown group of artists active in Cuba during the 1950s and ’60s. Working amid the tumultuous cultural and political aftermath of Fulgencio Batista’s coup, the group drew on the international style of geometric abstraction to forge a new, utopian visual language. Among the show’s highlights were Sandú Darié’s playful sculpture and painting; his works’ subdued palette felt distinctively local, the deep browns, auburns, and yellows conveying a rich, earthy materiality.
2 “DAVID HAMMONS: FIVE DECADES” (MNUCHIN GALLERY, NEW YORK) Confronting his audience with an array of freestanding vintage microphones at the show’s entrance, Hammons forcefully evoked the uneasy history of the black body onstage in America. Black genius reverberates
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