“ADVENTURES OF THE BLACK SQUARE” begins with a rectangle: Kazimir Malevich’s undated little quadrilateral from the Costakis Collection. The painting is small and squat, and its lateral format pulls it dangerously close to representational traditions of landscape, but the piece nevertheless encapsulates some of the most vital features of Malevich’s earliest excursions into Suprematism. Multiple brushstrokes build the shape, as if to show that the artist arrived at the composition only as the result of minute, painstaking deliberations reminiscent of Cézanne. In spite of this meticulous building-up

This selection of nine mostly undated paintings plus one large book of paintings on paper was only the second one-person exhibition of Bill Lynch, who died in 2013, at age fifty-three. Chosen from a thirty-year body of work, a larger group of which was on display at White Columns in New York last year, the show testified to the vast talent of the New Mexico–born, New Jersey–raised artist, who suffered from schizophrenia.

Made predominantly on unprimed pieces of found plywood, Lynch’s roughly painted expressionistic pictures feature birds, branches, flowers, and the occasional shed or obelisk. At

“Dear Sir or Madam: It has come to my attention that I am paid less than the man next to me on the assembly line,” states the narrator’s voice in Rachel Reupke’s latest video, Letter of Complaint, 2015, a ten-minute piece commissioned by Cubitt. The letter of complaint can be considered an art form in its own right; its subject matter can range from the deeply serious to the trivial. Expressing one’s exasperation, frustration, disappointment, or anger in this constricted format is a tricky task. Inspired by correspondence found in various UK archives, Reupke’s work considers this act of writing