Rirkrit Tiravanija’s exhibition at Pilar Corrias was meant to close on December 1, 2010, but it continued; the artist’s name remained up on the wall next to the door. But now it was written not in red but in white on white, like ghost writing. In fact there were some slight modifications to the show, not by Tiravanija but by Philippe Parreno, achieved without removing anything. Among them was a phantasmagoric addition that was fully revealed only at night: Parreno added a three-handled entrance door equipped with a sensor so it opened automatically every time someone approached. Above the door

Among the paradoxes in Huma Bhabha’s extraordinary sculpture is that although it feels fully in sync with our times—politically uncertain, historically self-conscious, formally experimental—the work transmits great timelessness. The three untitled, totemlike figures, 2010, that were in the front room at Stephen Friedman Gallery seem as ancient as anything ever erected on Easter Island. Solid, stony presences with roughly pitted surfaces that suggest hours of laborious masonwork, these partially blackened idols are mostly made of cork, pointing to an unexpected fragility: Were these