Having plumbed digital circulation and intellectual property in previous bodies of work, Artie Vierkant consolidated these interests with the exploration of a person’s physical “profile.” Intended as “a functional copy of that person,” Profile (all works 2016; “Profile” was also the exhibition title) is composed of three unexhibited elements: a full-body photogrammetry scan, audio recordings of the subject made with the intention of producing a synthetic voice, and a contract that formalizes the subject’s surrender of the intellectual property and personality rights belonging to these representational

In the early 1950s, Robert Breer, at the time a geometric abstract painter living in Paris, came to the realization that his interest lay in “the process of painting rather than any fixed composition.” This epiphany, which would eventually lead the artist to abandon painting altogether, inspired his first films, a tetralogy of short animations in which forms previously locked down on canvas were freed to morph and dance about the frame. Thematically bookended by Form Phases 4, 1954, and a 16-mm film from Breer’s mature period, Fuji, 1974, the recent exhibition “Between Cinema and Fixed Imagery”

With the five works in “B.O.D.I.E.S.,” Emilie Ding remains faithful to the large formats, rigorous selection and isolation of elementary geometric forms, and spare surfaces for which she has become known. And yet here she ventured in a new direction, abandoning other familiar characteristics: the depth and resistance of materials like concrete; the precision and almost gestalt-like quality of her drawings; gradations of black and gray in patterns, repeated in series, faint to the point of evanescence; industrial architecture as a model. Instead, she’s been exploring, for the first time, felt