• Urs Fischer, Happy Cheese, 2016, cast bronze, oil paint, 9 1/8 × 6 1/2 × 5 1/4".

    Urs Fischer

    Massimo De Carlo | Milan/Belgioioso

    Massimo De Carlo’s original industrial space could not be more different from the gallery’s new location in an eighteenth-century palazzo. Yet opposites are known to attract. Like a couple that must live under separate roofs to stay together, the venues offer artists the chance to select the preferred context for presenting themselves: periphery or center, studio or palazzo, iron or plaster, high or low? All this, however, is violently called into question by an artist who, like Jonathan Swift in Gulliver’s Travels, has us journey toward Lilliput or Brobdingnag, turns us into dwarves or giants,

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  • Mimmo Rotella, Other Scenes, 1968, photographic emulsion on canvas, 36 1/4 × 28 3/4".

    Mimmo Rotella

    Cardi Gallery/Robilant + Voena/Galleria Carla Sozzani/Fondazione Marconi

    Ten years have passed since the death of Mimmo Rotella, one of the most versatile and revolutionary Italian artists of the second half of the twentieth century. A suite of staggered but overlapping exhibitions at Cardi Gallery, Robilant + Voena, Galleria Carla Sozzani, and Fondazione Marconi celebrate his creativity and relevance, revealing the experimental strategies and techniques that characterized the career of this volcanically inventive practitioner. The works on display at four venues throughout the city delve beyond his celebrated “Décollages” and “Retro d’Affiches” (made with torn

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