ULRIKE MÜLLER conjures forth an other. This other is an as yet unidentified and genuinely differentiated being, a different sex, a different sensibility—one that not only deviates from but also exists within the still overwhelmingly male and straight modern teleologies of art. It’s not surprising, then, that the word others is the starting point for two exhibitions by the New York–based artist now on view at Vienna’s Museum Moderner Kunst Stiftung Ludwig Wien, both staged together with curator Manuela Ammer. The first, which closes February 21, is Müller’s solo presentation on the museum’s

Some populist North American critics have used the moniker “zombie formalism” to describe recent abstract painting. This begs the question: Does that venerable modernist mode still have critical potential in a moment of extreme financialization of art production? Natalia Załuska’s response is an attempt to reclaim abstraction’s historical mandate as a material intervention into collectively organized perceptual processes and techniques. The works in her recent exhibition, all Untitled, 2015, are constructed from pieces of cardboard of various thickness and dimensions affixed to canvases or