Dedicated to “those with no face and no voice,” Pauline Stella Sanchez’s exhibition at Rosamund Felsen Gallery concluded a trilogy of mixed-media shows, begun in 2001, in which the artist engaged with tropes culled from art history, cinema, and architecture. Her trilogy’s untitled Part 1 exhumed astonishing confluences between modernist art and the contemporaneous cult of theosophy, while Part 2, the 2005 “It’s Busted,” clustered around allusions to control, grandeur, and power. Part 3, which was untitled, was concerned with seeing itself, and the ways in which sight is rendered as spectacle.

So apropos was this show’s centerpiece to a state of affairs that has only just come into focus—the too-shallow foundation of recent skyrocketing global economic growth—that it suggested an artist adept at reading and translating the culture around him in ways that seem almost prophetic. Completed earlier last year, the work, titled Bricks, comprises six roughly square panels of the same size, hung on the wall in pyramid formation. Pate has covered each panel first with burlap and then with fabric silk-screened with a blue sky and puffy white clouds, and, over that, with white mortar patterns:

Standing six and a half feet tall and weighing around 350 pounds, Martin Kersels is a big guy. “I don’t fit in a lot of places, literally and figuratively,” he says in an interview published in the catalogue for his first midcareer retrospective, aptly subtitled “Heavyweight Champion.” The conspicuousness of his oversize person and the awkwardness of not fitting in are the generative conditions of his practice, as seen in the show’s thirty-three works, spanning 1994 to 2007. (Newer works were concurrently on view at ACME gallery.) Kersels employs a range of media, from sculpture and photography