Is Ryan Gander, now in his early forties, going through a period of midlife reflection? His recent work—which makes use of elements, such as design objects, figurative sculpture, and storytelling, already familiar from his multimedia practice but more grown-up and serious in tone—confronts existential questions about the passage of time. For his exhibition “The Self Righting of All Things,” he spoke with a mathematician and teamed up with close family members to show how the physical universe and human world are ruled by an innate order that returns to harmony without intervention.

Those who appreciate the art of Nasreen Mohamedi or Agnes Martin—artists whose pursuit of simplicity led them to probe the endless vibrations of space rather than the construction of form—might want to start looking into the work of Bice Lazzari, yet another of the seemingly endless number of underrecognized women modernists whose work is ripe for reconsideration. Born in Venice in 1900 and trained as a figurative painter, she began working abstractly in the late 1920s, first as a practitioner of the applied arts—fabric designs, decorative panels, and the like—but her abstract

“Truth” and “reconciliation” do not always go together. The imperative to testify—particularly in instances of collective trauma—is presumed to outweigh any costs, emotional, psychological, or even legal. But who really has the right to demand those truths? To whom do they belong? For whose benefit are they shared? And to whose detriment? In his films and objects, Aslan Gaisumov walks the line between silence and articulation. Born in the Chechen capital of Grozny, he creates work that not only revisits the devastation of the recent conflicts, but also traces them back to their roots