• Pat O’Neill, Untitled (Dingo 4), 1980, gelatin silver prints, photocopies, colored paper, 10 × 33 1/2".

    Pat O’Neill

    Cherry and Martin

    While Pat O’Neill is primarily known as an experimental filmmaker, this small retrospective, which filled two moodily lit galleries with five decades’ worth of sculptures, drawings, photographs, slides, and films, made a case for another, adjacent view of his practice—one concerned with fixed visual forms. In Untitled (Dingo 4), 1980, four identical gelatin silver prints of a dog appeared side by side, each overlain with a small photocopy that was partially obscured, in turn, by a different-colored paint chip—a frame-by-frame dissolve from color to color that recalled O’Neill’s movies.

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  • David Schafer, What Should a Painter Do? (detail), 2011, dyed poplar, ink-jet print, playback and speaker system, CD, looped three-channel audio. Installation view.

    David Schafer


    Talking sculptures are a staple of amusement parks, trade fairs, and museums of science, industry, and history, and are sometimes even found in churches. In art, however, they remain exceptional for the simple reason that sculpture’s effect has generally been understood to hinge on arrested potential; thus, a work’s force of expression is perhaps best measured against the pressure of its withholding. To furnish such a structure with a sound track could be seen as self-defeating, at least from the perspective of medium specificity—that critical tenet of modernism, a period that remains a

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  • Kelly Akashi, Figure oO, 2015, wood, acrylic latex paint, liquid emulsion, pigmented wax, blown pigmented glass, 8' 1" × 12' × 2'. From “SOGTFO,” 2015.


    François Ghebaly

    In October 2014, the grassroots organization Hollaback! released a two-minute video of hidden-camera footage in which a curvaceous brunette is catcalled as she walks the streets of New York. Intended as a public-service announcement, the video promptly went viral. Within the art world, discussions in its wake revisited conversations initiated by artists such as Adrian Piper and VALIE EXPORT, whose practices question the conditions under which women are allowed to occupy public space. The same mechanisms of social control that police a woman’s physical presence can extend to the virtual realm,

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