Twenty-one black-and-white photographs of cows, arranged in a vertical grid seven high and three across, adorn the front page of the special edition of KEMPENS Informatieblad (KEMPENS Information Journal)—a sort of personal newspaper named for the Belgian Campine region in which Jef Geys lives—published for his exhibition at Air de Paris. They correspond to the new entries in his series “Passeports de vaches”(Cow Passports), 1965–, arranged in the show in a different, horizontally oriented grid. Based on actual documents that Geys first saw in the Belgian countryside nearly fifty years

Treating her drawing practice like a visual diary, Anne-Marie Schneider uses combinations of watercolor, acrylic, ink, and pencil to routinely document current events, scenes from daily life, and her own mental state. Here a selection of sixty works on paper plus four paintings, all dated between 2009 and 2013, offered an intimate, if fragmented, glimpse into the artist’s quotidian experience. Characteristic of Schneider’s oeuvre, which also includes sculpture and animation, the simple forms and playful color palette of her drawings—manifested here mainly as purple and red stick figures