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Leo, Urs Fischer in Paris

Saturday, October 26, 2019

You look, you look … you look — you are, searching. Now you say I see! It means you’ve stoppedlooking. Let the viewer fade, the want-to-be will translate into a hole as it moves away from the ontological. Who do you think is watching, who is watching you when you move through the painting? Eyes … someone is not a body anymore, someone is only the one glaring eye. It. comes right out, but if you see yourself seen before time, you lose the game. You think, you are looking at the painting and you realize, it’s looking at you… It stole your eye – the very one



October 14–December 20, 2019

Gagosian, Paris.

What if the Phone Rings? archives Unmonumental, The Symptom

Galleries Shift Shape to Survive in a Changing Art World (featured artwork, Rachel Rose and Rirkrit Tiravanija)

Monday, October 3, 2016

Art galleries, like museums, are in a state of flux, determined to find ways to survive and remain relevant in an increasingly hostile environment shaped by rising rents; development; absurd auction prices and a dearth of old-school collectors — ones who think for themselves.

The few that can are shape-shifting and scaling up, becoming more like museums, mounting shows with outside curators and even opening their own bookstores. Many galleries stage not only art performances — by now routine — but also panel discussions and conversations with the artists whose work they sell. As might be expected, these can blur the line between public service and promotion.



Rachel Rose, Sitting Feeding Sleeping (2013)


Anish Kapoor at Regen Projects

Tuesday, February 10, 2015

“A series of monumental works feature organic, terrestrial forms made from resin and earth. In contrast to their raw, earthly matter, a series of highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound the viewers’ relationship to the space around them. Similarly, several monochromatic voids appear to float on the gallery walls, their concave interiors play with the viewers’ perception of surface and depth and create the illusion of infinite space reflected in their void like interiors.” (from the press release)

Tunnelling Shadow (2014), resin and earth, 313 x 330 x 130 cm.


Sophie Crumb & Aline Kominsky-Crumb at DCKT Contemporary

Tuesday, October 14, 2014

This show presents recent drawings by the two artists, marking the first time mother and daughter have exhibited together.


“Ms. Kominsky-Crumb has been an artist since childhood…Inspiration seems to come from comics, caricature, German Expressionism, and the “Real Housewives” franchise of cable television infamy… [Ms. Crumb] copies photographs from fashion magazines with results that call to mind the slightly distorted, definitely unsettling realism of the Neue Sachlichkeit (New Objectivity) artists of Weimar, Germany.”
—Roberta Smith, “Sophie Crumb and Aline Kominsky-Crumb,” New York Times, 18 September 2014



BOO-HOORAY: Born in the Bronx

Friday, August 8, 2014




Chris Burden

Thursday, October 3, 2013


Chris Burden, Through the Night Softly, Main Street, Los Angeles, California: September 12, 1973


Egan Frantz — < Billecart - Salmon rosé bubbles no. 1, 2012

Tuesday, May 21, 2013

Artist’s champagne bottle, pvc bucket, pvc hose, aluminum composite ring
with pigmented cheesecloth, electric air pump, brass
conduit and distilled water
Dimensions variable

Egan Frantz, “Multiples”

Friday, May 10, 2013

Jack Tilton Gallery May 10-June 22, 2013


Egan Frantz

Friday, April 27, 2012

Tomorrow Gallery



Leandro Erlich

Friday, September 9, 2011

Sean Kelly Gallery


David Altmejd

Wednesday, April 27, 2011

Andrea Rosen Gallery


Uwe Henneken

Sunday, April 24, 2011

Andrew Kreps Gallery


Wilhelm Sasnal

Saturday, July 17, 2010

Anton Kern Gallery – Wilhelm Sasnal



Saturday, October 17, 2009

Anton Kern Gallery



Adrian Villar Rojas

Thursday, October 1, 2009

Adrián Villar Rojas excels at site-specific works that oscillate among historical, symbolic and spatial effects. One brought him wide attention when he represented Argentina at the 2011 Venice Biennale. Since then, he has become a staple at these large international exhibitions. Working mostly in situ in cast concrete with a team of assistants, he may have single-handedly made a complement of “festivalist art,” originally a pejorative coined for the grandiose installations of such shows.