About halfway into his twenty-five-year collaboration with Jorge Zontal and Felix Partz, AA Bronson described one major reason why the three came together in Toronto in 1969 to form the group General Idea: the absence of their own visibility or self-representation within a national art scene. “We forgot that we, ourselves, were real artists, because we had not seen ourselves in the media—real artists, like Frank Stella, appeared in Artforum magazine,” Bronson wrote. This exhibition presented a selection from the collective’s production through 1977 and consisted largely of ephemera documenting

It’s not often that we get to see new work by Tomma Abts. The artist’s labor-intensive process only allows her to produce about ten paintings a year, so it is with a certain excitement that one waits to see whether she has succeeded in further refining her concentrated, steadily developing oeuvre.

This show was sparse, consisting of five paintings and eight drawings, with each medium presented separately on a different floor. The paintings, displayed downstairs, were hung in a row and generously spaced on one long wall. In this simple hang, Abts introduced delicate but crucial nuances characteristic

With his exhibition “Dar Allers War Ne’er Eny Bear Bear” (There Was Always Never Any Bear Bear), Stephen G. Rhodes imported popular myths from the United States to Germany. The show had two central points of reference: Stanley Kubrick’s The Shining (1980), based on the novel by Stephen King, and the Disney adaptation of Uncle Remus by Joel Chandler Harris, which opened in 1946 as Song of the South, a film musical containing both live-action and animated sequences. Rhodes juxtaposed quotes from both films and carefully staged references in a wild and unwieldy multimedia installation that sprawled