Rarely has a title’s punctuation been so warranted as the vertical slash cleaving the initials in this double billing, “HF|RG”: simultaneously soldering and severing the names and careers of Harun Farocki and Rodney Graham. Both artists were born in the 1940s and work with the moving image, but their similarities ostensibly end there. In this joint retrospective, Farocki is the doyen of reticulated montage and cracker of documentary codes, while Graham is the deadpan jack of many trades, whose dry wit pricks the profligate beauty of his installations. Where Farocki is systematic, Graham is

In Kerstin Brätsch’s work, the autobiographical elements cannot be discounted. It’s important to keep in mind that this young artist was born in Hamburg thirty years ago and now lives in New York—this dual heritage deeply colors her work. Take, for example, her latest exhibition in Paris, “buybrätschwörst”: Its eighteen large-scale paintings on paper were presented in rotation at a rate of three per day, one in the window, one hanging as a room divider, and one attached to the wall with magnets. These works take as their target German Expressionism and its pose of virile heroism, which Brätsch