• Farah Atassi, Building the City, 2013, oil and glycerol on canvas, 78 3/4 x 63".

    Farah Atassi

    Galerie Xippas | Paris

    Those familiar with Farah Atassi’s work will recognize in her latest group of paintings the strong orthogonal lines that lend themselves well to her signature tiled and bricked interiors. Adhering to an underlying grid, Atassi meticulously uses tape and layers of oil paint to construct eerily unpopulated human-scale spaces. But whereas earlier paintings featured scant domestic objects—for instance, a cluster of chairs or a dangling light fixture—evoking a kitchen or a bathroom setting, recent works show the artist moving toward greater abstraction. Now exploring the grid as a modernist

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  • View of “Artie Vierkant,” 2013. Left: Detachable Storage Rack for a Metallic Structure 1 (Exploit), 2013. Right: Air Filter and Method of Constructing Same 6, Six Screen Ascending Blue (Exploit), 2013. (Image modified by artist.)

    Artie Vierkant

    New Galerie

    The black square, once the triumphant “zero degree” of modern form, is now a screen—a window screen, to be exact. For “US 6318569 B1, US 8118919 B1; (Exploits),” his first solo exhibition in Paris, New Yorker Artie Vierkant secured licenses to fabricate seventy-five units of each of two United States patents—versions that adhere to the inventors’ guidelines within an established range of deviation. US 6318569 B1, Detachable Storage Rack for a Metallic Structure, is currently licensed as a commercial product: Magnarack, a spice rack that adheres to metal refrigerator doors via rare-earth

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