In her first solo show at Richard Telles Fine Art, fifteen years ago, Ginny Bishton presented a band of twelve hundred small black-andwhite contact photos, wrapping around the gallery, of herself in a kitchen mixing bread dough. Not unlike Martha Rosler’s canonical 1975 video Semiotics of the Kitchen—in which the gendered codes of a television cooking show stand in as analogues for artmaking—Bishton’s untitled bread-baking piece represented a complex mixing of art and (mediated) life, albeit one without didactic narration. Such obsessive, daily devotion to process—of making food and making

An adroit stylist, David Korty continued to pursue the washed-out, streamlined neo-Fauvism that defined his last show at Michael Kohn Gallery. The results, all produced in the past year and based on photographs the artist takes himself, are lovely enough—unmistakably of an able hand, a keen sense for color and design, and an eye for isolating images from the fray of the world—laid out in gouache and collage on paper, or in pencil and oil on canvas, sometimes with additions of wax and more collage.

Throughout the exhibition, Korty dealt up witty play between abstraction and representation. Women