Barbara Wien began working with Emmett Williams in 1991, and she has continued to collaborate with the artist’s estate following his death in 2007. Her “gallery and art bookshop” makes an appropriate venue for the Fluxus pioneer’s written and visual work. A writer, editor, performer, visual artist, concrete poet, and chronicler of Fluxus—“a non-historian recounting the history of a non-movement,” according to critic Gauthier Lesturgie—Williams has published a multitude of texts, anthologies, poetry collections, and artist’s books. This show focused (though not solely) on his collaborations

Tobias Kaspar’s recent show brought back memories of my puzzlement, years ago, over a pink canvas by Willem de Rooij that appeared to change color depending on where you were standing. In some respects, Kaspar one-upped him with the three pieces on view here, all Untitled, 2016. Their hi-tech, silvery, iridescent fabric contains particles of glass that appear to reflect light differently depending on one’s viewing position. In the triptych in the gallery’s first room, for example, a shifting surface of shiny silver rectangles emerged from the uniform gray you saw as you entered from the street.

Barbara Wien began working with Emmett Williams in 1991, and she has continued to collaborate with the artist’s estate following his death in 2007. Her “gallery and art bookshop” makes an appropriate venue for the Fluxus pioneer’s written and visual work. A writer, editor, performer, visual artist, concrete poet, and chronicler of Fluxus—“a non-historian recounting the history of a non-movement,” according to critic Gauthier Lesturgie—Williams has published a multitude of texts, anthologies, poetry collections, and artist’s books. This show focused (though not solely) on his collaborations

Tobias Kaspar’s recent show brought back memories of my puzzlement, years ago, over a pink canvas by Willem de Rooij that appeared to change color depending on where you were standing. In some respects, Kaspar one-upped him with the three pieces on view here, all Untitled, 2016. Their hi-tech, silvery, iridescent fabric contains particles of glass that appear to reflect light differently depending on one’s viewing position. In the triptych in the gallery’s first room, for example, a shifting surface of shiny silver rectangles emerged from the uniform gray you saw as you entered from the street.