Imagine a street in the center of Milan in winter—narrow, with neoclassical architecture, full of traffic, and crossed back and forth by a barefoot human figure with an enormous bull’s head. The figure suddenly drags out of a gallery a large red stuffed fabric octopus, manipulating it to engage in a grotesque and somewhat ridiculous mock battle, until the sea beast emerges victorious. This is Minotauro contro Mostro Marino (Minotaur Versus Sea Monster), 2004, the most recent action staged by Shintaro Miyake, a thirty-four-year-old artist from Tokyo, who “fishes” in the collective imagination of

Miroslaw Balka’s exhibition was titled “Element der Exaktheit” (Element of Exactitude), and the aspiration to an unattainable exactitude is precisely what unified the various works: Their titles referred to their precise measurements in centimeters, and yet some slight deviation always annulled the rule. Balka’s sculptures were paired with projections of white light that evoked the disk of the moon, but the encounter between the luminous circle and the three-dimensional structures was problematic and finally unresolved. This was particularly evident in 91 x 78 x 50, ø30 x 40 + Mooned (all works