“One After Another, a Few Silent Steps,” curated by Sabrina van der Ley, was the first major retrospective of the work of Pedro Cabrita Reis in Germany. It elicited two ostensibly contradictory impressions: on one hand, an unyielding minimalism with a strong emphasis on material, and on the other, a sense of quiet, poetic allusiveness. It’s fascinating that in each of the works included, these two elements are simultaneously present and interlinked through Cabrita Reis’s artistic vocabulary. This dualism was underlined in Hamburg by the arrangement of the works, which, disregarding chronology,

Casual swipes of thickly applied paint, bright splotches, and spreading patches of color that occasionally allow a glimpse of bare canvas: Nina Kluth develops her paintings with a tempestuousness and roughness that is, in the end, carefully calibrated. Her virtuoso alla prima paintings often look nearly abstract on first glance, but invariably also resolve into naturalism. Although Kluth’s work is explicitly anchored in the depiction of landscape, this representational content is balanced by the emphasis she places on the role of color, the materiality of the paint, and her rich, surprising