Working on a back-strap loom, this young Canadian artist intertwines acrylic yarns with hand-spun wools that he then stitches together and finally mounts on raw canvas. The large-scale works that result are more than simply intriguing: They take to task all kinds of preconceptions about painting. For starters, they brazenly refuse conventional distinctions between so-called “folk art” and “high art” practice. These works flaunt their indebtedness to indigenous traditions of artmaking, particularly those from the coast of Nova Scotia, where Wadden grew up. Initially just as important to him was

Maria Nordman’s first solo exhibition in Berlin consisted entirely of works that she made in the 1970s and ’80s but which are dated as if extending toward a perpetual present moment, as is always the case in her production. Though born in Germany, Nordman is strongly associated with Los Angeles in those decades, when artists came to emphasize sculpture’s field of installation––especially viewers’ perception of physical form in relation to light, space, and site.

At Konrad Fischer Galerie in Berlin, De Ondas (Portuguese for “on waves”), 1983–, assumed a deconstructed form that differed from the