A member of the Viennese Aktionist movement of the 1960s, and noted in particular for “material actions” that involved coating bodies engaged in choreographed carnality in soup, juice, and milk, Otto Muehl is no stranger to shock. Founder of the promiscuity-centered Friedrichshof Commune, he was imprisoned for most of the ’90s on charges of “criminal acts against morality.” The real surprise about Muehl’s recent exhibition at MC, however, was that it represented the eighty-year-old’s first-ever solo exhibition in the US. Attempting to make up for lost time, the gallery borrowed works from the

Writing about Jason Meadows’s sculpture in 1998, Dennis Cooper concluded that “there’s something about Meadows’s low-key yet forward-thinking sculptures that toys innocently with your mind while, at the same time, making you think unusually hard and well about the great unknown’s possible discrepancies.” Meadows achieves this mental mobility by way of a thorough assimilation of the seemingly contradictory syntaxes and grammars of, among others, Anthony Caro and H. C. Westermann. Even more than he’s been testing the borderlines between abstraction and figuration, in his last few shows, especially

In his recent head-spinning exhibition at Daniel Hug Gallery, Chris Lipomi blanketed the walls, floor, and ceiling with work to create a fusion of floral shop, tribal arts museum, flea market, and “tropical” prop room—all stand-ins for the contemporary art gallery. Even the show’s nonsensical, Jabberwocky-like title, “Makawana Omawaki,” seemed to connote plenitude and exoticism. Incorporating a diverse array of sculptures, assemblages, and readymades, as well as paintings on canvas, walls, and mirrors, the show was the result of exactly one year’s worth of work, a period that concluded with a