Jiří Kolář’s collages, the artist explains in his Dictionary of Methods, “are made to be laid out flat, to be seen from all angles.” But, he adds with typical true-false naiveté, “they can also be hung.” The fifty-odd works in this exhibit are indeed hung, but they have been guaranteed a horizontal existence as well, figuring as they do among the 110 collages in the recently published French translation of the Dictionary of Methods (written in French in 1983 and already translated into English, German, and Italian) True to its title, the Dictionary consists of 118 alphabetical entries, from “

Unique in the landscape of French art of the past two decades, the work of Bernard Frize is difficult to define, often giving rise to misinterpretations, primarily because the artist does not work in a trademark style. Showing little concern for a coherent visual order, Frize is in the habit of employing new methods of painting, reflective of his methodical flirtation with chance. He demonstrates a pronounced predilection for aporias and for stretching logic to the point of absurdity.

This group of recent works thus depends, at least in part, on a premeditated abandonment to the physical properties