Mac Adams, The Whisper (Diptych), 1976–77, diptych, gelatin silver prints, each 36 5/8 x 40 1/8″. To begin his essay published for Mac Adams’s exhibition this past summer, critic David Campan…
Gabriel Orozco, Satellite View of North America, 2014, oil-jet painting, 15 × 9 × 4 1/2″. Coming to Gabriel Orozco’s work a generation late, I find it difficult to imagine the impact it had w…
Knud Lonberg-Holm, Illustrated Production Cycle, 1937, printed matter, 10 7/8 × 8 1/2″. Like anything, the appeal of high modernism ebbs and flows. This presentation of architect Knud Lonberg…
Carissa Rodriguez, It’s Symptomatic/What Would Edith Say?, 2013, permanent ink marker on ink-jet print mounted on Plexiglas, wood brace, 60 x 35 1/2″. From “Looking Back: The 8th White Column…
Tina Barney, The Reception, 1985, C-print, 48 × 60″. Money, I’ve heard, cannot buy happiness. And through the 1980s, Tina Barney’s darkly witty pictures of her insular upper-class milieu gave…
Sadamasa Motonaga, Two in Order, 1985, oil on canvas, 23 7/8 × 19 3/4″. One of the coolest pieces of ephemera in the catalogue accompanying this exhibition of Sadamasa Motonaga’s later work i…
Eberhard Havekost, Transformers, B14, 2014, oil on canvas, 47 1/4 × 70 7/8″. The slick, sinister paintings of Eberhard Havekost have begun to show their age, which is a wonderful thing, since…
Justin Adian, Slow Goodbye, 2015, oil enamel on canvas on ester foam, 24 1/2 × 25 1/2 × 4 1/2″. Justin Adian’s show “Fort Worth” presented sixteen works that were made using a technique he ha…
View of “Yanyan Huang,” 2016. Some seventy or so years after its heroic American heyday, Abstract Expressionism has seen a lot, having been debased, parodied, subverted, enshrined, disavowed, mocke…