It would prove useful to consider why and how Tony Labat wasn’t included in RoseLee Goldberg’s live art festival PERFORMA ’05, given that this sharp retrospective closed just weeks before that event kicked off in New York. Labat (along with Chris Burden and Dan Graham, Lucille Ball and Ann Magnuson, Richard Pryor and Johnny Knoxville) should be a key figure in any history of artists using action to negotiate the role of media (television and video, especially) in constructing the various, often ephemeral, aesthetic, sexual, and political narratives producing and produced by bodies or their

Visionary ’70s jazz musician Sun Ra, Conceptual art kingpin Sol LeWitt, and Galileo each played a starring role in Edgar Arceneaux’s recent exhibition at the San Francisco Museum of Modern Art. Composed of eight interrelated works from Arceneaux’s series “Borrowed Sun,” 2004, the show linked the three innovative men via their disparate relationships to the heavenly body named in the title, recruiting them for a meandering investigation of scientific and artistic approaches to the theme of infinity.

Though essentially whimsical, Arceneaux’s installation maintained a reverent, thoughtful tone. This