Dance has long been overlooked in the art world. But in the past decade, a handful of modest retrospective exhibitions have used the gallery setting to redress the medium’s wide-ranging role in the post- war avant-garde, with institutions from the Musée d’art contemporain de Lyon to the Walker Art Center in Minneapolis granting overdue attention to the careers of such figures as Anna Halprin, Trisha Brown, and Yvonne Rainer. The most recent subject of this renewed interest is Simone Forti, who received a solo exhibition at the Box, a young gallery committed to exhibiting underrecognized artists

Is there anybody left who would question the viability of photography as an artistic medium? With high-profile exhibitions of the Pictures generation and the New Topographics group, and a slew of recent or upcoming group shows of emerging artists working in and around the medium, photography never seemed more serious as a medium—or site of discourse. Even Michael Fried, a major critic who by and large sidestepped three decades of art’s development after Minimalism, eventually turned his attention to the once-lowly discussion.

Still, not every photograph qualifies as art—or even aspires to the

The stripped-down, rectilinear structures in “Quadrangles,” Michael Rashkow’s second solo show, flirt teasingly with Constructivism, combining geometric economy with precise but experimental facture. Having particular resonance with El Lissitzky’s Prouns of the early ’20s—two-dimensional works acting as “the station where one changes from painting to architecture”—the pieces here straddle flatness and inhabitable volume. They approach “the wall” as a thick substance, one that might be manipulated, moved through, or displaced.

Rashkow’s procedure was most clearly articulated in the south gallery