Michael Landy decided to construct a giant container in which to throw London’s unwanted artworks. The first question was: How big should it be? The answer here was: colossal—some forty feet long by thirty-three feet wide and about two stories high. Evidently, Landy had high expectations; however, with hundreds of doomed artworks barely covering the container’s floor (the heap not much more than three feet at its deepest) by exhibition’s end, Landy’s Art Bin, 2010, became an unexpected tribute to how highly this city values its artworks—not quite the “monument to creative failure” that Landy

The first work in Jost Münster’s show “Ground Control” was the wall painting Bands, 2010, featuring vertical stripes of slightly different lengths running roughly from the ceiling down to knee height: a wide central black band flanked by a narrower, marginally shorter sky blue one to its right and a thin yellow line to its left, all abutting except for a section of the yellow line, which peels away from the black toward its lower end. The colors and their arrangements were evocative, gently suggestive of the street from which one had just stepped. But they were also implacably there, flat on