Karen Mirza and Brad Butler’s “The Unreliable Narrator” presented the emergent twenty-first century as one that is both authoritarian and anarchic, a divide articulated through the division of the single gallery space into two rooms via red theatrical curtains. The first room one entered resembled an examination hall, in which a neon sign reading YOU ARE THE PRIME MINISTER (reflecting the title of the piece; all works 2014) shone over three school desks. An examination paper had been placed on two of them, with a question taken from a real Eton College King’s Scholarship exam, while the answer

The point of departure for “Report from the Exhibition,” which juxtaposed works by Eustachy Kossakowski and Goshka Macuga, was the oeuvre of Kazimir Malevich, the father of Suprematism and the painter of that cornerstone of modernism Black Square, 1915, an image that the artist made his signature. Though his practice and thought were the foundation of the Russian avant-garde, starting in the late 1920s his work was found to be inconsistent with the official policy of socialist realism and was suppressed by the Soviet government, an act that made it difficult to access for decades. That situation

Over the course of a month long residency, Judith Bernstein produced in situ an exhilarating body of work she then exhibited under the title “Rising.” Two large-scale paintings and five drawings were shot through with the artist’s customary wit and full-on attitude: funny, provocative, and embarrassing in equal measure. Dominating the proceedings were the two enormous paintings, which contain a dizzying mix of futuristic imagery in which giant vulvas loom large and magnificent, surrounded by a floating sea of penises and graffiti-like symbols. One, Birth of the Universe #33 (all works 2014),