• View of “Angela Bulloch,” 2010.

    Angela Bulloch

    Simon Lee | London

    Toward the end of the 1990s, Angela Bulloch began working with pixel boxes. Each is a wooden cube with one translucent face, behind which are lighting tubes that glow any desired color, controlled by the input signal from the artist’s proprietary DMX module. These objects quickly became her signature, employed in diverse ways over the next few years. With “Discrete Manifold Whatsoever,” her first solo show in Britain since 2005, Bulloch has again turned to the pixel box, albeit in a new way that emphasizes concerns that have perhaps not always been so overtly apparent. Rather than foregrounding

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  • Stuart Marshall, The Love Show (parts 1–3), 1980, still from a color video transferred to DVD. From “Polytechnic.”


    Raven Row

    In the 1980s, a handful of unabashedly politicized fine art BA courses emerged in the UK. Their titles tended to include the word critical—Saint Martins School of Art in London, for example, instituted a “fine art and critical studies” program. For those who took such courses at the time (myself included), curator Richard Grayson’s exhibition “Polytechnic” will have sparked flashes of recognition. Comprising video and mixed-media works from the later 1970s and early ’80s, Grayson’s show was not a historical survey but a personal selection showcasing some of the approaches to narrative being

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