Merve Unsal
More Articles by Merve Unsal
![installation shots of the exhibition under review. All images courtesy Casey Kaplan Gallery.](https://artcritical.com/app/uploads/2010/06/gillick-installation-275x176.jpg)
Liam Gillick at Casey Kaplan Gallery
Gillick’s show is cerebrally engaging and visually interesting, but the visual and cerebral components never coming together to form a layered experience.
![Ghada Amer, Painting to Trini’s 2006. Acrylic, embroidery and gel medium on canvas, 78 x 63 inches. Private collection, New York](https://artcritical.com/app/uploads/2009/12/GHADA_AMER1-275x339.jpg)
In Stitches at Leila Taghinia-Milani Heller Gallery
In Stitches surveys artists from very different backgrounds who are united by the medium of stitching, broadly defined.
![](https://artcritical.com/app/uploads/2009/05/Adel-Abdessemed-275x206.jpg)
Adel Abdessemed at David Zwirner Gallery
Abdessemed’s show is an exhilarating introduction to his work as the artist’s “acts” (as he calls his works) have a truly visceral resonance for every viewer. Yet, the show suffers from the ubiquitous interests of the artist, his “fascination with the world” as he himself identifies it.
![](https://artcritical.com/app/uploads/2008/12/lorna-simpson-head20-275x347.jpg)
Lorna Simpson: Ink at Salon 94 and Salon 94 Freemans
The tensions between intimate and public, between information and interpretation, in Simpson’s drawings of women’s hair take on a different meaning in a second body of work in what the artist calls the “orchestrated theatrical disaster” of war.