Brazilian artist Mira Schendel visited the UK only once during her lifetime, on the occasion of an exhibition of her work in London in 1966. She found the city surprisingly receptive to her artistic practice, contrasting the buzzing opening reception to the silence that had greeted another of her shows in Rio earlier that year. But although Schendel felt her early work had a “more resounding effect in England than in Rio de Janeiro,” her work has been most extensively shown and discussed within Brazil. Curated by Tanya Barson and Taisa Palhares, this exhibition was the largest international

Katy Moran has described her paintings as “figurative.” Yet she has also stated that they are arrived at “not by consciously representing something but by more oblique processes,” and the resulting works have in general been less representational than one would imagine. In fact, the word fugitive might be a better descriptor, as these new objects create a sense of lost narrative. There is no direct referent in each work; Moran instead draws on constructed or imagined narratives as the work evolves. In the past, her brushwork has created the impression of a fluid dynamism, resembling painterly

For her exhibition “Reality Flickers,” performance artist, sculptor, and writer Katrina Palmer transformed MOT International into what looked like a backstage rehearsal space for a performance under production. Four chairs (one alone and three stacked) were casually positioned against a wall. Next to them was a music stand, facing a wall covered by a heavy theatrical curtain—gray rather than the usual ruby red. On the stand was the cover page to a text for a reading titled The Night of the Purring Tremor, 2014. Another text presented a character portrait. It described Reality Flickers, a