This exhibition paired a prototype for a sculpture or design project by Andrea Zittel with Sufficient Self, 2004, a PowerPoint presentation of images accompanied by the artist’s casually written comments chronicling her life and work at A-Z West, her expanded cabin and surrounding property on the edge of the Mojave Desert town of Joshua Tree. Over the past few years, Zittel has transformed this site into a base for ongoing experimentation with the development and alteration of products for living, including transportation, shelter, clothing, furniture, storage, food, and utensils. Alongside this

Aptly, if dramatically, titled “Tragedy, Sunburns & Still-lives,” Anton Henning’s second exhibit of paintings at Christopher Grimes Gallery meditated on the materiality and intensity of life. And while these images offer hints of vanitas, one often also finds in them a sense of indulgence in the present moment. Henning positions himself as an heir to all those whose work has displayed a flair for the lush and the strange, from the painters of the Baroque to Courbet, Manet, the post-Impressionists, Matisse, and more recently, the likes of Sigmar Polke, Eric Fischl, and David Salle. Borrowing

Once known for tightly plotted, high-concept musings on the ongoing annexation of everyday life by the entertainment industry, Cindy Bernard has more recently converted to the (quasi-)formalist cause. For an artist whose formative years were spent Greenberg bashing, this may come as either a surprising case of pent-up desire finally released or as a concession to the dictates of fashion. In actuality, it is probably a little of both. Like many of the ’80s generation, Bernard has no doubt felt firsthand the confining effect that “issues” can have on art, and her decision to strike out for