Pruitt • Early are a pure product of the art world; as naughty and wild as their art pretends to be, their intent is merely to fit in. In an effort to instantly historicize their efforts, the artists have dated each of their pieces with the phrase “Early 90’s.” Pillaging the styles and ideas of other artists, not to mention the strategy of appropriation, the work rides on the coattails of Andy Warhol, Gilbert & George, Jeff Koons, and Haim Steinbach. Pruitt • Early’s antiesthetic is cheap, low class, and heavy metal; it’s art for or about teenagers. Teenagers are shallow and dumb. They drink

The works in Keith Milow’s recent show, entitled “100 Drawings,” function first and foremost as a unit. Realized in oil on copper, aluminum, or lead and mounted on plywood, the works present a distinctive visual lexicon. The uniformity of their format and execution and the resemblance of many of the drawings to enlarged ancient manuscript pages reinforce the sense that they are leaves from an image book. They seem meant to be read together, though not necessarily in any particular sequence.

Milow’s vocabulary consists of an array of decorative devices that appear to be derived from Renaissance

In Chris Kraus’ first film, In Order to Pass, 1982, one of the actors/participants suddenly asks the question, “What would happen if there were just plain flow between symbols?” The obvious answer is that the symbols would disappear as concrete anchors of received meaning, leaving us with a web of vectors, switching stations, and durations. This is perhaps an appropriate description of Kraus’ oeuvre as a whole, for one can discern in her films a gradual development away from dialectical relationships based on traditional binary oppositions, toward an interest in syntagmatic and metonymic fluidity: