• Art & Language, Nobody Spoke, 2013–14, seventeen chairs, alogram on canvas over plywood with acrylic and mixed media, dimensions variable.

    Art & Language

    Lisson Gallery | 27 Bell Street | London

    The English Conceptual artists Art & Language have been art-world irritants since 1968, fiercely witty agents provocateurs determined to debunk modernist assumptions about authenticity, authorship, and language through publications, drawings, paintings, and performances. Although many people have participated in Art & Language at one time or another, today the group is mainly a collaboration between Michael Baldwin and Mel Ramsden. This show included the group’s familiar mix of mediums, from large-scale abstract paintings to sculptural installations and performance, to present a provocative and

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  • Morgan Fisher, Red Boxing Gloves/Orange Kitchen Gloves, 1980, two-channel video (Polavision cassettes transferred to DVD), color, silent, 3 minutes 20 seconds.

    Morgan Fisher

    Maureen Paley

    Much recent engagement with photochemical film tends to reflect a fetishistic investment in the uniqueness of its materiality. The work of Morgan Fisher is different: His interest is in the conjunction of this material support and the demands of industry. For Fisher, film is less artisanal than it is inextricable from the standards imposed by corporations in the field, such as Agfa-Gevaert. Of course, it is exactly this tie to industry that has cast the medium into obsolescence, a topos that looms large in Fisher’s recent exhibition “Past Present, Present Past.”

    In the 1970s, Fisher worked in

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  • Senga Nengudi, R.S.V.P. Reverie “Scribe,” 2014, nylon mesh, sand, found metals, 91 × 54 × 67". From the series “R.S.V.P.,” 1976–.

    Senga Nengudi

    White Cube | Bermondsey

    Around the bottom edge where pristine white gallery walls meet buffed concrete, Senga Nengudi spread thin strips of sand, forming an alternative baseboard, as if the earth were seeping up into the room. From the walls hung sculptures from the series “R.S.V.P.,” 1976–, formed of sheer panty hose in tones ranging from pale cream to dark brown, with a little dark green, white, and black. Some of these malleable, visceral, yet delicate sculptures were stretched across corners—one, Internal I, 1972/2014, monumentally from floor to ceiling in a gallery of its own, as if marking a territory. The

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  • Nick Mauss, nervous system, 2014, powder-coated steel, acrylic, 65 × 86".

    Nick Mauss

    Campoli Presti | London

    Nick Mauss’s work embodies drawing—which may come as a surprise, considering that, at first glance, his latest exhibition consisted of six cut powdered-coated-steel sculptures, four plaster wall pieces, and one work in aluminum leaf. That is, the activity of drawing seems less prominent in these works than the things themselves as constructed material objects. For example, place of blurring, 2014, is drawn and painted on a rectangle of plaster held by wire mesh in a wooden frame, while nervous system, 2014, is a linear wall relief made out of cut steel covered with patches of green acrylic

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