As if in perverse celebration of Lizzie Fitch and Ryan Trecartin’s near decade and a half of collaboration, three monstrously contorted epicene odalisque sculptures, painted in opalescent jewel tones, occupied the reception area of their first solo exhibition at Regen Projects. These sculptures, Animation Abuse #1–3 (all works 2014), were a telling preamble. Before entering any of the show’s three video installations, or “sculptural theaters,” as the artists call them, one had to confront the two terms of their invented medium separately. First, sculpture: the three ambiguously sexed figures,

The dot is a black hole and a simple mark, an infinite void and an eternal asshole, a pregnant period or simply a circle. This figure, which featured centrally in Jonathan Horowitz’s project, was first mentioned by omission—a classified listing in Night Papers’ Sex Issue that read simply, “SEEKING PARTICIPANTS for JONATHAN HOROWITZ PAINTING PROJECT . . . 30–60 mins, $20 PAID.” An odd and intriguing opportunity at first glance: Your everyday hustler might spot an easy mark and a quick Jackson, while the savvy economist might wonder about the exchange value for that labor. Animal-rights

Liking the work of Lisa Anne Auerbach can simply come down to liking the things that she likes—knitting, bicycling, books, and zines. These hobbies, each threatened to varying degrees with obsolescence, are all deserving of support. Even if you don’t actively share Auerbach’s interests, you can at least appreciate her enthusiasm as demonstrated in her work. Crafts, sports, literature: At one time or another, each has served as the emblematic “other” to art, yet here they are the integral figures of an aesthetic equation, and their lifestyle connotations cannot be as easily dismissed.

Auerbach’s