Teeny Duchamp died peacefully, not quite ninety, ever the lady, at home in Villiers-sous-Grèz on the Wednesday before Christmas. She will be much missed by those who knew her. For those who never had the chance, something of her light could still be seen last spring in this small but elegant homage at the Jeu de Paume, which was conceived by Daniel Abadie, curated by Olivier Grasser, and realized with the help of Teeny’s daughter, Jacqueline Monnier-Matisse. The show consisted simply of portrait photographs, chess sets and memorabilia, a large drawing of Teeny by Henri Matisse (the father of

Mary Obering divides her time between New York and Italy, and her work—which combines traditional Renaissance techniques with a rigorous formalism derived from American Minimalist art—clearly reflects her peregrinations. In her paintings Obering uses materials and methods favored during the Quattrocento, such as the use of egg tempera and gold leaf on gessoed panels. Her most recent projects, which could almost be described as sculptures, consist of boxlike rectangular wall-pieces that have been painted on all visible sides. The surfaces and volumes these forms enclose have then been subdivided