Sergej Jensen made his recent series of paintings from reclaimed cotton money bags culled from banks across the United States and Europe. Each bag was split and stitched, one to another, into a series of taut, wonky rectangular grids. The finished patchwork of sacks forms both subject and ground of the work. Jensen described his earlier process as “painting without paint,” but in these works paint looms large, poured and pressed into the untreated cotton sacks to make abstract monochromes and odd figurative scenes derived from old-master paintings. As if floating over their fabric ground, their

Suddenly, Caroline Achaintre’s work seems to be everywhere. A stand-out in the current British Art Show, with a recent solo display at Tate Britain, Achaintre is now preparing for a major presentation opening in July at the warehouse-size BALTIC Centre for Contemporary Art, in Gateshead, UK. The French-German sculptor has lived in London since the late 1990s; her gradual ubiquity might have gone temporarily undetected owing to her staggering variety of artmaking techniques. The sensational, colorful, hairy wall rugs that emerged just over a decade ago suggested a signature style, but there were

Billed as “a collaborative exhibition by twenty-four international galleries across eight London spaces” and coordinated by Vanessa Carlos, director of Carlos/Ishikawa, Condo generated discourse largely centered on the economic straits facing younger commercial galleries in the city. You might be the hottest ticket in town, but cultural capital alone won’t pay your invoices. For this experimental exhibition, various galleries from all corners of London—among them Arcadia Missa, The Sunday Painter, Southard Reid, Project Native Informant, Supplement, and Rodeo—hosted work from galleries