On a boxy monitor in an upstairs gallery at Human Resources—a young Chinatown space dedicated to performance and nontraditional exhibitions—footage from a 1969 TV show played in a perpetual time-coded loop: Beach Boy Dennis Wilson crooning for the camera, sloe-eyed and benign, his lips falling in and out of sync with three takes of the same song. The piece, 1. The Beach Boys perform “Never Learn Not to Love” live on the Mike Douglas show, 1969; 2.Charles Manson, “Cease to Exist,” 1968; 3. The Beach Boys “Never Learn Not to Love” studio version, 1969 (all works 2011), was one of

Angel food, kugelhopf, savarin, pound, fleur-de-lis, Bavarian bundt: a dozen ring-shaped cakes, each a unique sculptural form cast in white concrete elegantly gridded the gallery, set atop tall rectangular pedestals in three neat rows, four deep. Piero Golia received the elaborate bakeware set that molded this lot as a wedding gift some years ago. The pans sat cold in the cupboard until his divorce, when they came to mean something other than they had. For his show this past summer at Gagosian, Golia concretely figured the recently compounded emotional weight of the pans’ readymade volumes as

For nearly a decade, Shannon Ebner has developed a quickly recognizable approach—one at the unruly convergence of photography, sculpture, and language—that insistently frames the space around and (especially) between things. Most often, these voids or breaks occur between letters and other linguistic symbols that provide the ostensible subject matter. In an earlier series of defining black-and-white images, the artist photographed words, in all caps, constructed out of flimsy cardboard and placed in desolate settings that read as literally blank fields: In USA, 2003, for example, the