How refreshing to see this sharp arrangement of bright, crisp, confident recent photographs by Laurie Simmons, Sarah Charlesworth, and Louise Lawler—redolent of ’80s smarts and deployed here to consider the domestic and its complex nexus of psychic, social, and spatial concerns. “Designs for Living” gives weight to both “design” and “living,” looking at how the constructed (curated, designed) nature of familial environments is reflected in and through choice of furniture and upholstery, wallpaper and paint colors, arrangements of collectibles and artworks; and how it’s possible to trace,

Although Monday is apparently the favored day for suicide, Jack Goldstein did himself in on a Friday—not after the weekend, but just before. Grim observations aside, one can’t help but read into this an analogy to his career, which, following an almost decade-long decline, was about to peak again. In 2001, a survey of the artist’s early films in Stuttgart and at his gallery in Los Angeles, as well as the rehanging of Douglas Crimp’s epochal “Pictures” exhibition at Artists Space, New York, promised a return to form. The following year ushered in a retrospective and several more survey

Part fine art, part folk art, with a dash of bling-bling thrown in, the recent sculptures in Anna Sew Hoy’s West Coast solo debut cobble together materials as disparate as driftwood, perfume bottles, and back issues of National Geographic, all with guidance from the art of ikebana. In this Japanese form, flowers and leaves are arranged in vessels into harmonic, dynamic compositions—each a mannered attempt to convey an impression of nature. But if ikebana is these sculptures’ starting point, it’s met with echoes of a range of artistic practices (Isamu Noguchi, Howard Finster, Jessica