NO ONE CAN DENY Liam Gillick’s ambition. Here is an artist who wants to take it all on: global capitalism, corporate identity, product design, institutional critique, modernism and its aftermath, Minimalism and its aftermath, literary conventions, the linearity of time itself. The forms of Gillick’s engagement are equally diverse, including sculpture, installation, print, video, and curatorial projects, as well as prolific writing of criticism, manifestos, and fiction. All of this is guided by an unresolved combination of the Marxist desire to explain everything with a single system (centered

With the ebullience of youth—he’s not yet thirty—Puerto Rican–born, Brooklyn-based Angel Otero fills old bottles with new wine, bringing innovative and dramatic formal strategies to bear on conventional formats and subjects. Although his compositions often resemble traditional oil paintings, Otero rarely touches the surface of a canvas with a brush carrying paint. Instead, he crafts many of his works from “oil skins”—paint that has been poured on glass or Plexiglas, left to dry, and then peeled off in sheets. Sometimes Otero crumples the skins and uses them as building blocks in representational