For “In Virtual Vitro,” her eleventh solo show with Esther Schipper, Angela Bulloch used the gallery’s two rooms to constitute two distinct spheres. To the right were new works in characteristic Bullochian genres, including “Drawing Machines,” 1990–, “Listening Stations,” 2013–, and “Pixel Boxes,” 2000–; on the left, visitors encountered an ensemble of vaguely archaic-looking yet quasi-Minimalist new sculptures and wall pieces based on rhomboid elements.

By now, viewers are familiar with the ways in which Bulloch’s sculpture interrelates different media and fields of perception. In the right

Does it make sense to look for the best painting in a show that presents seemingly endless variations on the same motif? Axel Kasseböhmer’s exhibition “100 x Walchensee” showcased a hundred small oil paintings of waterside and mountain scenery, each 13 x 19 3/4". Although there are differences in imagery, color, texture, and atmosphere among them, all were created around the Alpine lake where the German painter Lovis Corinth worked in the 1920s and produced an important body of landscape paintings. Corinth, who owned a house on the lake, painted in all seasons and during all times of day, and

Roe Ethridge’s Berlin exhibition “Sacrifice Your Body” overlapped with his identically titled exhibition at Andrew Kreps Gallery in New York, each show comprising a different “edit” of a group of recently produced photographs also found in his book Sacrifice Your Body (2013). This is to say that Ethridge is working with a more or less familiar artistic procedure: the task of editing his own photographic production. Prominent tropes in Ethridge’s current iconography still include his well-known styling of both people and objects as if they were consumer products; thus, several images borrow the

Those in power—or those striving for it—often resort to the force of images. Art historian Martin Warnke posits that in the past, rulers might have paid more attention to the creation and propagation of a political iconography than to proper governmental acts. Such imagery, he insists, had to take into account both the sender’s message and the linguistic capacities, expectations, needs, and norms of the receiver. Stalin certainly understood this double coding when, in 1934, he established the method of socialist realism. Apart from illustrating the party’s directives, Soviet art had