• Anish Kapoor

    Hayward Gallery

    When people at an art party, circa 1995, asked if there were anyone working in England you did like (after you had remarked that the whole Young British Art scene reminded you of extras from a Larry Clark movie), you could still answer “Anish Kapoor” without completely embarassing yourself. At the time, Kapoor was well on his way from being an establishment-radical artist (i.e., one whose work had street credibility as well as cachet in the high-end art world) to an outright national institution, an intensely chromatic Henry Moore for the ’90s. His sculptures were gracefully elegant without

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  • Monique Prieto

    Robert Prime

    Stronger and more various than those in her 1996 New York show, each of Monique Prieto’s new paintings consists of a limited number of self-contained shapes or lines of high-key acrylic color cavorting amid broad fields of unpainted canvas, not unlike Morris Louis’ “Omegas,” 1959–60, or one of Helen Frankenthaler’s relatively clear, open works of the late ’60s. Per Dr. Greenberg’s prescription, Prieto’s are paintings about shape and color—but in what a different way.

    The much-bruited reflux or rehabilitation of “formalism” involves two distinct components: among critics and theorists, a renewal

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  • Angus Fairhurst/Sarah Lucas

    Sadie Coles HQ | Balfour Mews

    In addition to sharing a studio in London’s Clerkenwell neighborhood, Angus Fairhurst and Sarah Lucas have collaborated on a number of artistic projects. Their recent show, which was suggestively titled “Odd-bod Photography,” toyed with their respective identities so much that it blurred the boundary between them. This was no small achievement, since an artistic persona as pronounced as Lucas’ is not readily effaced, while Fairhurst’s more subdued approach tends to be easily swept away by the bluster of YBA art.

    The show included a series of seemingly straightforward documentary images jointly

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