• Mark Flood, Colonial Mirror, 2015, acrylic on canvas, 80 × 60".

    Mark Flood

    Modern Art Helmet Row

    In certain societies, cannibals ate their opponents to acquire knowledge. Maybe that’s why one of Mark Flood’s more notorious paintings is emblazoned with the phrase EAT HUMAN FLESH. Although none of the Texan’s thirteen recent works in his second London show, “American Buffet Upgrade,” offers such explicit statements as his eponymous 1989 painting, his endeavor still reeks of a kind of cannibalism. The exhibition included three types of paintings, mainly his well-known “lace paintings” and a series based on digital images; there was also a single triptych of “aged paintings,” which display

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  • Mark Leckey, Dream English Kid, 1964–1999 AD, 2015, digital video, color, sound, 23 minutes.

    Mark Leckey

    Cabinet Gallery

    The initial idea was simple: On YouTube, Mark Leckey discovered the audio recording of a Joy Division matinee gig he’d attended in 1979, at age fifteen, the memory of which deeply affected him–leading him to wonder if he could compile important memories from his life through film, ads, and music found online. The resulting film, Dream English Kid 1964–1999 AD, 2015, could be considered a dystopian romance. It begins the year Leckey was born, 1964, with footage of early Beatles television broadcasts; the work is not only about music as a point of collective memory but also about the rapid evolution

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  • Verso of Gerhard Richter’s Sänger (Singer), 1965–66, showing a 1966 Color Chart painting, oil on canvas, 41 × 29 1/8".

    Gerhard Richter

    Lévy Gorvy | London

    Seeing Gerhard Richter’s early “Farbtafeln” (Color Charts) reassembled for the first time since their initial presentation at Galerie Friedrich & Dahlem in Munich in 1966 is an opportunity not only to gain a better sense of how they function together as an installation but also to revisit the crucial moment when the artist decided to develop them as a group alongside his black-and-white photographic images already under way. At Dominique Lévy, nine of the original nineteen Color Charts from 1966 are shown along with a Ducolux sample card that had provided the template for liberating color from

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