I’d forgotten just how loudly the noise of outside traffic used to echo in my Manhattan apartment. But when I walked into Igor and Svetlana Kopystiansky’s exhibition I felt like I was back there overlooking Broadway: Lisson Gallery’s downstairs spaces were permeated by a roar of the streets such as I’ve never heard here in London, where drivers use the horn considerably more sparingly. What I’d always tried so hard to ignore had taken on aesthetic significance in the sound track to the pair’s two-channel video projection Incidents, 1996–2002, and was just as appropriate to the second (otherwise

The art of what used to be called (proudly by its fans, derisively by its detractors) the Ferus “boys club” is back. And it looks pretty damned good after the museum-quality exhibition of key work from Los Angeles’s breakthrough Ferus Gallery (1957–66) at Gagosian’s Chelsea branch. The show was curated by the former Ferus majordomo, kettledrum-voiced Cary Grant stunt double Irving Blum. The first thing you encountered, by way of introduction, was a spate of black-and-white photographs of young, raffish, ’60s-suave Ed Ruscha, Craig Kauffman, and Larry Bell, all looking as smart-ass elegant as