“A less amusing set of people never filled the imaginary world of a novelist,” carped a September 1907 review of Joseph Conrad’s The Secret Agent, published in Country Life, the stuffy English periodical (still going strong) devoted to racing, golfing, and the horsey set. Conrad’s dark novel, set in 1886, dared to portray the nascent Victorian-era underworld complete with a corruptible police force, foreign-born anarchists, and a sympathetic underclass. These shadowy nineteenth-century figures have been recast as spies, backhanded police commissioners, and dubious embassy officials in Stan

We most often encounter video works in isolation from other media, so Keren Cytter’s exhibition “Ocean,” which brought together three recent videos and a series of colorful, childlike drawings, was not navigable in conventional ways. In fact, the gallery architecture itself was broken up and reorganized by a zigzag wall of varying height, spatially mimicking the unexpected twists and turns in Cytter’s videos. While drawings of sea creatures and similarly clichéd subject matter—such as maritime tattoos, hearts, eyes, pencils, and crayons—looked fairly familiar, their arrangement in the

Channa Horwitz was, notoriously, the only woman selected for Maurice Tuchman’s landmark Art and Technology project (1967–71) and, worse still, was the only selected artist not to have her work realized and exhibited. A diagram on graph paper for the movement of light on eight Plexiglas beams floating in a magnetic field, Art and Technology Proposal: Beams and Intensity of Lights, 1968, was on view in this long-overdue survey, which originated at KW Institute for Contemporary Art in Berlin and was organized by its chief curator, Ellen Blumenstein. Although the proposal never took on concrete