• Kai Althoff

    Institute of Contemporary Art

    Kai Althoff’s career seemed to take off in a big way, at least in New York, after his 2001 exhibition at Anton Kern Gallery. In 2002, a suite of watercolors was exhibited to great acclaim in Laura Hoptman’s “Drawing Now: Eight Propositions,” at the Museum of Modern Art. With the exception of a passel of photographs and one offbeat sculpture at Kern (an agglomeration of two chairs and a sword), both spotlights on this hitherto relatively obscure German artist—obscure stateside, that is—gave the impression that his métier was painting and works on paper. Nicholas Baume, curator of the Institute

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  • John O’Reilly

    Miller Yezerski Gallery

    Miniaturist John O’Reilly has been constructing montages since the late ’60s, creating photographic tableaux from pictures and props that he reassembles into complex worlds that are always poetic and intimate. The black-and-white Polaroid montages in the series “Panoramas,” 2002–2004, average only about four or five inches in height but stretch up to twenty-three inches across, establishing a cinematic space. Using an uncoated film that allows him more time to compose the assemblages, O’Reilly’s pasted-together photographs unite allusive narrative in cubistic space. These sixteen works are

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  • “Possessed”

    Western Bridge

    The conceit of “Possessed”—the overlap between the things that we own and the things that own us—is a common-enough curatorial theme, but this exhibition had no particular ax to grind. Neither explicitly anticonsumerist nor especially hostile to the notion of a controlling influence, it was one of those rare shows that allow a theme to refocus itself from work to work, reveling in the sly linguistic shift from physical to ethereal. “Possessed,” which was curated from the collection of Bill and Ruth True, did not force work into interpretive contortions but gently and persuasively framed and

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