The thread connecting the fifteen works (all 2015) in Graham Wilson’s recent exhibition “I Clocked Out when I Punched In” seemed to be time—specifically, time as it plays out in the valuation of artistic production. Wilson’s self-reflexive exhibition presented cheeky meditations on the status of his own work, in terms of both its cultural and economic capital. Some pieces are quite literal: Institutionalized suggests that the time spent producing a work can be systematically monetized, and that the artist might be conceived as an office worker. A broken vintage punch clock was installed on

It is a difficult task to condense into one exhibition all the branches of visual research undertaken by the Milanese designer and inventor Bruno Munari (1907–1998). His output spanned from the late 1920s—when he participated in the so-called Second Futurism movement—to the final years of his life, when he staked out a position as an artist. In the intervening sixty years, he eschewed rigid disciplinary boundaries, applying his concept of design to a broad range of visual practices. For this reason, his work has historically been most revered in such fields as industrial and graphic