Marnie Weber’s work of the past ten years has relied increasingly on her ability to live in the realm of the speculative and fantastic. She entertains narratives without feeling the need to resolve them in unifying conclusions or morals, imaging a parallel “what if” universe without submitting to an “if-then” logic. Recently, this predilection met her interest in the progressive, populist, and protofeminist mid- nineteenth-century American Spiritualist movement, which undermined both social hierarchies and established religious models by proposing equal access to an afterlife, with women often

Kim Fisher has always been explicitly invested in fashion and its inevitable intertwining with that other elite pursuit, “advanced” art: Her earliest exhibited paintings replicated the signature color and typography of Tiffany bags. She followed these with a series of canvases that riffed on the logo for André Courrèges, the 1960s designer of the go-go boot and the “moon girl” look. In 2000, she unveiled a series of provocative paintings that featured richly pigmented angular shapes based on beryls, or gemological facets, often augmented with intricate silk-screen images of jewelry, and executed