Criticism
Sunday, March 3rd, 2019
 
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A derangement of the senses is arrived at via multifarious stimuli ...
Tuesday, February 26th, 2019
 
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Her show of bells and mirrors was in Chelsea this winter. ...
Friday, February 22nd, 2019
 
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Interventions in the permanent collection of American art, up through March 3 ...
 

Saturday, September 7th, 2019

Mimi B. Powers and Sarah Kebede-Fiedler in the production under review

God-Given to Create: “Quilting The Sun” at Theater for the New City


Set during Reconstruction in the South, a drama as schematic as the quilt it celebrates

Saturday, August 31st, 2019

March Avery, The Dead Sea, 2009. Watercolor and gouache on paper, 22 x 30 inches.

”The Poetry of Sheer Loveliness”: Milton Avery, Sally Michel and March Avery


Joan Boykoff Baron and Reuben M. Baron on Milton Avery, Sally Michel and March Avery

Thursday, August 22nd, 2019

Johan Wahlstrom, Disconnecting #1, 2017. Acrylic on canvas, 30 x 48 inches. Courtesy of the Artist and Ethan Cohen Gallery

Lost and Found: Faces and Figures in the Art of Johan Wahlstrom


Two shows, radically different in look, explore the human condition in a post-postmodern way

Thursday, August 8th, 2019

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Flotation Effect: Riad Miah at Wave Hill


His installation creates a mirage of gestures suspended in space

Tuesday, August 6th, 2019

T.W. Adorno in 1968

A Strange Antiquation: T.W. Adorno’s Aesthetics in 1968


A new contributor reviews Adorno’s Aesthetics

Thursday, August 1st, 2019

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Mode Shifting: Elizabeth Riley at SL Gallery


Her show of video and sculptural works in midtown through August 9

Thursday, July 11th, 2019

Mark Greenwold, Christmas Painting, 1964. Acrylic on canvas, 51-1/2 x 48-3/4 inches. Courtesy of the artist and Garth Greenan Gallery

Careful What You Wish For: Mark Greenwold at Garth Greenan


Recent paintings take a significant turn

Thursday, June 20th, 2019

Installation shot of exhibition by Kaveri Raina at Assembly Room, New York, 2019

Life in Motion: permeability, transparency and disembodied form in Tommy Mintz and Kaveri Raina


Two exhibitions, in different mediums, probe comparable conceptions of time

Tuesday, June 4th, 2019

Andy Warhol, Silver Liz (diptych), 1963. Silkscreen ink, acrylic, and spray paint on linen, two panels: 40 × 80 inches. Private collection; promised gift to the Museum of Contemporary Art San Diego. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

The Time-Capsule Formula: Warhol at the Whitney


Our critic descries a kitchen-sink approach to curating

Saturday, June 1st, 2019

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The Cognitive Dissident: Bruce Pearson at Ronald Feldman


His seventh solo at the Soho gallery closes June 8