• View of “Amy Sillman: one lump or two,” 2013–14. From left: Psychology Today, 2006; Untitled, 1999; A Bird in the Hand, 2006; Them, 2006. Photo: Charles Mayer.

    Amy Sillman

    Institute of Contemporary Art

    SO, IT TURNS OUT that Amy Sillman is indispensable. This expansive traveling survey, “one lump or two,” makes a pretty good case for her garrulous vision of painting as an elastic and ambitious pursuit. As a model of persistent picture-based engagement, it is something to account for.

    But if you’re not going to buy it, that’s OK, too. Sillman can take the lumps. In fact, she happily invites them. Her work’s willingness to expose its unguarded flank is enshrined by her and others as a serious virtue. In some ways it is one. Personally, I’m not often won over by the charm of the sad sack, nor blown

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  • Carlos Jiménez Cahua, Untitled #104, 2013, ink-jet print, steamer, water, 81 x 32 1/4 x 16 1/2".

    Carlos Jiménez Cahua


    In his witty Boston solo debut, Carlos Jiménez Cahua added a new twist to a long-standing philosophical quandary: Can art capture and communicate sensations, images, and systems that are normally imperceptible? That the artist answered in the affirmative is perhaps less remarkable than the way in which his compendium of simple gestures was wedded to some of the building blocks of globalization to produce surprising visual effects.

    Identified by the gallery as a digital video, Untitled #102 (all works cited, 2013) might be better described as a three-and-a-half-hour durational performance by a

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