The exhibition “Cuerpos” (Bodies) brought together two series of Paz Errázuriz’s photographs—“Tango,” 1986, and “Cuerpos,” 2002—with a nine-minute video piece, El sacrificio, 1989–2001, the only work she has produced in that medium thus far. The Chilean artist early in the 1980s and ’90s focused on portraits of people on the margins of society (the insane, the homeless, transvestite prostitutes, boxers, circus people, and so on), and these origins have continued to influence her even as her practice has evolved to encompass subjects more fully integrated into society. “Tango,” for

For more than a decade, the art of Madrid-born Fernando García was easily recognizable as part of the widespread trend of post-Conceptual painting sweeping Europe these days. Such work was marked by an ironic use of language, wry comments on art production, and witty allusions to the art market, all combined in a deliberately clumsy style of painting. And yet even when his paintings were at their most formulaic, his shows always contained something unexpected. Lately, something has radically changed, and the shift in García’s work seems to coincide with his recent move from the city to the