IN 2013, New York–based artist Lutz Bacher staged three separate surveys of her work in Europe: at Portikus in Frankfurt; at London’s Institute of Contemporary Arts; and at the Kunsthalle Zürich, where “SNOW” was the last and most comprehensive to go on view. Though each exhibition could be considered a retrospective, none presented itself as a historicizing look back at the artist’s oeuvre. Rather, the independent shows, linked only by a catalogue and a shared time frame,tended to liquefy contours between individual works, imploding tout court any notion of Bacher’s work as a coherent body or

Two masks flutter toward each other, butterfly-like, in a carnivalesque duet, overlapping as though they might join together to form a single face, only to drift apart again in free fall through an infinitely luminous blue after this brief encounter: This is what we see in Marc-Antoine Fehr’s Le Baiser (The Kiss), 2013. The large-format painting is divided into a grid of seventy-seven rectangles recalling the frames of a filmstrip. The masks sport brightly painted faces, which tumble in many different directions through the work’s neatly demarcated sections, while their interiors, which are a