The best works are vibrant and fun, and show the chops of a painter who takes delight in straightforward, rambunctious picture making.

She doesn’t paint so much as build her pictures…they seem to convey the reality of water stopped up with manmade detritus.

With Zhang’s Rulai one senses the conflicting elements of life and death within the gray ash.

Transgressive, experimental, fiercely individualistic, Man Ray evaded any categories not of his own creation.

In a Catch-22, artists cannot sell their work, but they also cannot afford to “waste” materials on work that is not for sale.

Among thirteen tapestries commissioned from contemporary artists, the most interesting are those in which the medium adds a level of meaning to the image.

“His ambition,” Moore-McCann concludes, “is nothing less than a transformation of thinking, looking beyond material objects to underlying systems of belief”

We still have much to learn about California’s cool recasting of New York’s cold Minimalism, but these shows provide a good place to start.

Once the complexity of the paintings’ under-layers have revealed themselves, we are in a position to appreciate the way in which these paintings offer up to us a visual metaphor of their own making.

Pesce freeze’s the moment, Carroll celebrates transience, and together they create a deeply meaningful and thoughtful dialogue.