• Untitled, 1998.

    Untitled, 1998.

    Adam Fuss

    Kunsthalle Bielefeld
    Artur-Ladebeck-Straße 5
    March 2–May 11, 2003

    Museum of Fine Arts, Boston
    465 Huntington Avenue
    September 25, 2002–January 12, 2003

    Curated by Cheryl Brutvan and Thomas Kellein

    It’s easy to see Fuss’s cameraless photograms and latter-day daguerreotypes as reactions to our digital era, in which photography’s ring of truth has a hollow sound. But as this fifty-five-print not-yet-midcareer survey (curated by Cheryl Brutvan of the MFA and Thomas Kellein of the Kunsthalle Bielefeld) shows, Fuss is interested less in documentary fact than in evanescence and immateriality. His archaic techniques provide a direct imprint of the thing photographed, but the result is a paradoxical loosening of the image’s bonds to the physical world—an aspect that puts Fuss’s pictures in a league with Robert Ryman’s all-white canvases and Wolfgang Laib’s pollen floor pieces.

  • Criss-Crossed Conveyors, Ford Plant, 1927.

    Criss-Crossed Conveyors, Ford Plant, 1927.

    The Photography of Charles Sheeler

    Museum of Fine Arts, Boston
    465 Huntington Avenue
    October 23, 2002–February 2, 2003

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    January 1–January 1, 2002

    The Metropolitan Museum of Art
    1000 Fifth Avenue
    January 1–January 1, 2002

    Curated by Theodore E. Stebbins Jr. and Gilles Mora

    Photography by no means played second fiddle to Charles Sheeler’s work as a Precisionist painter. He was a true professional, earning his living from commissions (for Vanity Fair and Vogue, for example), and memorably recorded many disappearing aspects of American rural life as well as contemporary industrial architecture. This ambitious exhibition of more than 120 photographs (selected by Harvard University Art Museums curator Theodore E. Stebbins Jr. and French critic Gilles Mora) confirms his reputation as a master of the medium, a standing that may even eclipse his renown as a painter.

  • Vase of Flowers, 1927.

    Vase of Flowers, 1927.

    Jean Fautrier

    Harvard Art Museums
    32 Quincy Street
    July 16, 2013–July 20, 2003

    Haggerty Museum of Art
    1234 W Tory Hill St Marquette University
    September 19–December 29, 2002

    Miriam and Ira D. Wallach Art Gallery, Columbia University
    615 W. 129th Street 6th Floor
    January 28–March 29, 2003

    Curated by Curtis L. Carter and Karen Butler

    Jean Fautrier’s art has always been a matter of taste, and his often seemed pretty bad, down to the snakeskin shoes he famously wore to the opening of his war-inspired “Hostage” series. Some critics argue that the later paintings’ flirtation with kitsch is deliberate. Now we have a chance to judge for ourselves with this long-overdue first US retrospective. Organized by Haggerty Museum director Curtis L. Carter and Karen Butler of Columbia University, the exhibition surveys Fautrier’s forty-year career and is accompanied by a catalogue with contributions by the curators, along with Yve-Alain Bois, Benjamin H.D. Buchloh, and Rachel Perry.