• View of “Pierre Huyghe,” 2014. From left: Nymphéas Transplant (14–18), 2014; La déraison, 2014; Nymphéas Transplant (12.21.1914), 2014.

    Pierre Huyghe

    Hauser & Wirth London | Old Bond St

    The white cube is “a curious piece of real estate,” as Brian O’Doherty once wrote; with Pierre Huyghe, this property just gets curiouser and curiouser. Ordinarily, an art gallery is a clean, bright place, the exclusive domain of Homo sapiens. In Huyghe’s exhibition “In. Border. Deep.,” it became a dark, cavernous home for strange life forms.

    The space was sliced into two oddly shaped halves. The first housed some extraordinary variations on the idea of “living sculpture,” along with a wall work, about which more later. In the second, further subdivided into two irregular black boxes, two short

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  • Jack Bilbo, Trianugneophilio (Triangular Love), 1948, ink on paper, 17 1/2 × 13".

    Jack Bilbo

    David Zwirner | London

    Hugo Baruch was born in 1907 in Berlin, where he died sixty years later; in 1922, he became “Jack Bilbo,” and it was time spent in England from 1933 to 1948 that saw the genesis of his creative life. Entirely self-educated as an artist, Bilbo described himself in the subtitle of his autobiography as an “Artist, Author, Sculptor, Art Dealer, Philosopher, Psychologist, Traveller and a Modernist Fighter for Humanity.” Like William Copley in Hollywood, he was an engaging, entrepreneurial, self-taught artist who ran a gallery first: The Modern Art Gallery, located in central London, mixed the work

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  • View of “Kai Althoff,” 2014.

    Kai Althoff

    Michael Werner | London

    Walking into this exhibition was like stepping into a time warp. Was this Kai Althoff’s imagining of a workshop of some seventeenth-century Puritan dressmaker? After all, linens were draped from ceiling to floor, and three clothed dress forms were positioned among a worktable and chairs. Yet at the same time, four thick knitted sweaters and brightly colored plastic paintbrushes were also strewn about the scene, while music from Althoff’s latest LP, Fanal 4, provided the sound track to the strange scene. Paintings, some of them oddly shaped, were positioned around the room. They alluded to such

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