In 1965, Virginia Dwan, who had been running a Los Angeles gallery since 1959, decided to open a second space in New York. This enterprise is the subject of this show, which follows a 1990 exhibit in the same space, presenting work she originally exhibited at the California gallery, by the French Nouveaux Réalistes, most notably Yves Klein and Martial Raysse.

Dwan’s New York gallery was active for a relatively short period of time; although it became her pet project after she abandoned activity in Los Angeles in ’67, she finally closed the New York space in 1971. Sol LeWitt, Robert Smithson, Carl

For over ten years, Lea Lublin has looked with an inquisitive eye at major works from art history, not with a sense of nostalgia, or, for that matter, to follow in the path of the appropriationists. Not content simply to copy the works, she has, rather, discovered in them hidden aspects that social convention keeps from us. In her 1983 show, Lublin unveiled the erotic charge that is immanent in the gestures of the Virgin and Child, by placing decoupaged elements into reproductions of religious paintings and isolating significant scenes in drawings. Without any previous knowledge of Leo Steinberg’s

Every retrospective has its surprises, but in the case of photographer Gisèle Freund’s “Itinéraires” (Itineraries) at the Centre Pompidou, these have less to do with unknowns than with knowns. Like modern-day icons, her five-plus decades of writers’ and artists’ portraits are so familiar and so indissociable from their subjects that they have virtually eclipsed their creator. There is, for example, the classic image of André Malraux, eternalized at age 34 with a cigarette between his lips and hair blowing in the wind; or James Joyce at home in his plaid tie and velvet smoking jacket; or the (

Véronique Joumard focuses her attention on energy, electricity, and light, using all the appliances and hardware associated with this domestic universe: heating-resistors, light bulbs, neon tubes, electric wires, extension cords, and switches. What interests her is immaterial flux, that is, the way in which currents and energy (even spiritual energy in the form of drives and impulses) move through our daily environment.

Joumard’s first exhibition is little more than a clever reprise of the first years of her studies—a sampling of the artist’s principal pieces, demonstrating the range of media