BY WHAT STANDARD are we to comprehend the career of an artist whose significance to artmaking, while everywhere felt, nonetheless manages to elude critical consensus? Cy Twombly has long been such a figure. Many artists (not just painters), now two generations of them, revere him, although the visual evidence of his impact on their work is in some cases difficult to discern. Yet it is safe to say that, while Twombly likewise commands an intense following in the museum community, he has managed to escape the kind of public interest that, over time, has been heaped on his close contemporaries

Our expectation upon entering a dark, black-curtained gallery is that we will be watching some “new media” projection. But no: In this collaborative work by installation artist Peter Coffin and painter Djordje Ozbolt, Untitled (Djordje Ozbolt) (all works 2008), five small paintings hang on a wall in a darkened room. One by one, in sequence, each picture is brightly lit for a minute or so—the first a bit longer than the rest. The lighting on each picture varies. Four spotlights dance over a work subtitled Health and Safety, in which a monkey cavorts in some depthless gymnasium or construction

“There exists only one definition for everything, everywhere at any one time”: So reads the inscription disguised as a mathematical equation and engraved on Didactease, 2006, a Tiffanys sterling-silver coin discreetly worn as a pendant by a gallery assistant at Ryan Gander’s recent show, “Heralded as the New Black.” The assistant also wore a white Adidas tracksuit with embroidery resembling bloodstains, suggesting an injury despite the unmistakable decorative effect of the embroidered pattern. Both works initiate various routes of meaning depending on how and when they are experienced, exemplifying