One Work: Etel Adnan’s “Untitled”
Mount Tamalpais was a motif of the late artist's life and paintings, exemplified by one canvas from 1984 that captures a sense of becoming.
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New York Reviews
Replies Confidential: Robert Ashley at Roulette
Three interrogators walk into a room. An electronic orchestra begins. Robert Ashley's opera "eL/Aficionado" is an inquiry without a resolution.
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Not Relatable: April Clark and Grace Freud’s “Girl God”
In their surreal show "Girl God," trans comics April Clark and Grace Freud translate their Twitter presences to the stage.
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Swallowed Symbols: Kim Farkas at Downs & Ross
Kim Farkas's sculptures enshrine common goods signifying Chinese culture in an attempt to capture life in a diaspora.
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Night at the Museum: Louise Lawler at Metro Pictures
Lawler continued her investigation of the lives of artworks by shooting Donald Judd's MoMA retrospective after hours, casting them in a different light.
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Layered Lesbian Looking: Barbara Hammer at Company
Tiona Nekkia McClodden's layered curatorial approach highlights the exchanges within Barbara Hammer's pioneering work on lesbian intimacy and identity.
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One Work: Diane Simpson’s “Two Point Enclosure”
One work at JTT exemplifies Simpson's architectural interests, and positions drawing as the primary site of translation in her work.
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Plantation Landscapes and Murky Water: Dawoud Bey at Sean Kelly
In Bey's latest photographs, five former plantations in Louisiana seem haunted by a history of violence against enslaved people—and by memories of their resistance.
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Sword Fights on Canvas: Georges Mathieu at Perrotin and Nahmad Contemporary
He anticipated performance art, inspired Gutai, and motivated Europe's response to Abstract Expressionism—but Georges Mathieu has mostly faded from view.
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Flight Patterns: John Akomfrah at Lisson Gallery
In his latest film, John Akomfrah gives visual and historical shape to the traumas of this decade—pandemic, police violence, oppression—without blurring their forms.
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Newswire
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