Over the last two years, Andrea Fisher has developed a distinctive format for her wall installations, by combining Minimalist-type sculptures, always identifiable as reminiscent of, say, a “Serra” or a “Judd,” with a projected image. Past installations have focused on Minimalist practice as the consequent and final manifestation of Modernism proper, and have included images of isolated female victims of war. The subjects’ poses revealed, in their finality both as event and as image, the intimate and deeply troubling connections between social and sexual violence and the fascination with visual

Hughie O’Donoghue’s paintings succeed in being both vitally alive and calm, even somber. They are rendered with spontaneity and passion, as well as vulnerability. All are oil on linen, and their surfaces vary from smooth and polished to heavily impastoed. O’Donoghue pits the complex colors of nature against those of synthetic paint. He merges deep, complex blacks and subtle, cool green-grays, punctuating them with powerful flashes of fiery red.

These recent works have more explicitly human references than many of his previous works. They are more ambiguous than, say, his studies of the bird and