“What a painting cannot do.” So ends the short poem with which Michael Krebber opened his recent exhibition of abstract paintings and drawings. Krebber is often referred to approvingly as an artist’s artist, and his background as an assistant to Martin Kippenberger and the various conceptual and material conversations his work stages with the recent history of German art are frequently offered up as critical pieces of information for those keen to understand his oeuvre. Since the 1980s his work has developed to encompass a range of diverse practices and media, from Conceptualism to painting,

Ella Kruglyanskaya wants to be a great painter, so she says, not “a good woman artist.” Although her paintings are largely populated by women and her 2012 exhibition at Gavin Brown’s Enterprise was called “Women! Painting! Women!,” her subjects may be less important and less unusual than the style in which they are conveyed. “I arrived at my current practice by a method of elimination,” the Latvian-born, New York–based artist says. “Gradually I figured out things that I was not interested in. The women came from drawing from the imagination, not from life.”

Her words drawing and imagination are

When Francesco Vezzoli had the five ancient Roman marble heads in his 2014–15 exhibition “Teatro Romano” at MoMA PS1 painted in garish colors that evoked their original polychromy, some critics expressed their relief that he had not also replaced the statues’ broken-off noses. Now the extravagant Italian artist has done just that, and the result, while no less controversial than “Teatro Romano,” turned out to be more thematically rich.

For “Francesco Vezzoli’s Eternal Kiss,” the missing noses of two white Roman Carrara-marble heads, which Vezzoli had again acquired at auction—one male, circa

To enter Beatrice Loft Schulz’s “Living Arrangement #” meant passing through a ten-foot-wide, New Agey, patterned curtain of glass beads laboriously threaded by the artist. In advance of the exhibition’s opening, Arcadia Missa gallery director Rozsa Farkas told me, Loft Schulz and her assistant, Ruby Read, performed a magic spell to harness the earth’s energy for the gallery. Evidence of this ritual remained in the wiry stick bundles propped in the rear two corners of the space—charms signposting the invisible forces encircling this total environment. Loft Schulz’s work characterizes a