Curated by Isabel Carlos

The Wilsons possess an uncanny ability to elicit the historical and psychological reverberations of architectural space through their eerie, seductive, and hauntingly atmospheric film and video installations of sites such as the abandoned East German secret-police headquarters of Stasi City, 1997, and the ruined New Zealand hospitals of Erewhon, 2004— places that are decrepit, out of time. While the CAM exhibition focuses mainly on work produced in the past three years, “Suspending Time” will nonetheless be the largest survey of the sisters’ output to date, comprising several multichannel installations, including their most recent, Songs for My Mother, 2009, and five site-specific sculptures. Accompanied by a catalogue with texts by critic Mark Cousins, curator Isabel Carlos, and others, this show should be a primer for anyone interested in the elegant interweaving of real and depicted space by means of the moving image.

— Barry Schwabsky

Curated by Caroline Smulders

Robert Longo was in on the ground level of what’s now called the Pictures generation, having participated in the seminal New York exhibition organized by Douglas Crimp in 1977. But though Longo has received as much market attention as his peers, he hasn’t always gotten as much respect; there’s a crowd-pleasing drama to his drawing and sculpture, which are generally grand in scale, high in contrast, and often strong with a less-than-subtle intimation of apocalypse. A Damien Hirst before his time—he relishes guns, tidal waves, and mushroom clouds the way Hirst does sharks and dead butterflies—Longo seems to see everything in literal black and white. This retrospective of more than one hundred pieces from the past thirty years (it began at Musee d’Art Moderne et d’Art Contemporain in Nice, France) offers a chance to get a handle on the Pictures people’s bad boy.

— David Frankel