Noritoshi Hirakawa, a young Japanese artist, works on cultural phenomena linked to sexuality and images of the body: on the forms of repression and control of desire. Clearly influenced by the later work of Michel Foucault, Hirakawa experiments with the limits of the “repressive hypothesis” in order to demonstrate how sexuality participates in a general discursive economy that addresses the most tenuous, individual, and day-to-day habits and behaviors, and scarcely perceptible forms of desire. The artist-as-sociologist leads this inquiry, not into inhibitions and forms of control, but into the

Created and conceived by Ariane Mnouchkine for the bare and vaguely churchlike sheds of the Cartoucherie in Paris, the stage for the Les Atrides tetrology was as essential as a ritual space. Directly in front of the audience, and arranged along bleachers, the stage was enclosed on three sides by a low crenelated wall, the wall of an ancient city, a perimeter, but also a line of communication territorially distinct from the central auditorium. From one tragedy to another, radical and unexpectedly contradictory transformations occurred. Mnouchkine arbitrarily provided a prologue for the Aeschylean

That Graham Gussin is intent on developing certain of Conceptualism’s original premises became clear in one work here, entitled I love you. I’ve dreamt of this. Sound drawing 10.1.93, 1993. This was a sort of graphic grid, very similar to a landscape of frozen mountains, stylized and bare, painted in blue acrylic directly on the wall. But what was important was the process that led up to this piece. Gussin fed 15 seconds of the soundtrack from a pornographic film through a computer. The computer visualized these sounds, and the result was what the viewer confronted, drawn on the wall. With the