Nicole Eisenman’s “Untitled (Show)” could at first appear either as a painting exhibition with a few sculptures, or a sculpture exhibition with a couple of paintings, depending on which floor of Hauser & Wirth’s Chelsea redoubt you stepped into first. After absorbing it all, I couldn’t help wondering if any other artist working today can make as plausible a claim to equal mastery of both mediums. Having taken up sculpture only a decade ago, Eisenman is now clearly an artist for whom painting and sculpture are part of a single continuum: analogous ways of materially engaging with the making and

German artist Ella Bergmann-Michel (1896–1971) experimented with collage and assemblage in the tumultuous era of the Weimar Republic, configuring her own compelling visual vocabulary. The results were evidenced in the show “De l’eau à la lumière, de Dada au Constructivisme” (From Water to Light, from Dada to Constructivism), which featured nearly thirty works made between 1920 and 1926. She and her husband, Robert Michel, met in 1917 while studying at the Grand-Ducal Saxon School for Fine Arts, Weimar, one of only two German art schools to accept women, and stayed on when it merged with the