Chloe Wyma

Emma Amos

January 2018

In Tightrope, 1994, Emma Amos paints herself as a circus performer. In star-spangled underwear and a black duster, she tiptoes on a high wire over a woozy crowd of blurred faces and headless eyeballs. In her left hand are two paintbrushes; … READ ON

IN PRINT January 2018 [TOC]

2018 Triennial: “Songs for Sabotage”

January 2018

Curated by Gary Carrion-Murayari and Alex Gartenfeld Three long years ago, under Obama’s presidency and a seemingly boundless neoliberal horizon, the last triennial investigated “new visual metaphors for the self” in an expanding digital … READ ON


Sadie Barnette

December 2017

On the ground floor of Sadie Barnette’s solo exhibition, a group of five framed and enlarged COINTELPRO-era documents, sporadically misted with passages of black and hot-pink spray paint, reported that Rodney Ellis Barnette was observed … READ ON

IN PRINT December 2017 [TOC]

Jess Johnson

November 2017

“What is being described here is in fact a machine,” Roland Barthes wrote of the Marquis de Sade’s pornographic scenarios, “ . . . a meticulous clockwork, whose function is to connect the sexual discharges.” While there is little if any, sex… READ ON

IN PRINT November 2017 [TOC]

Rosemarie Trockel

Gladstone 64

October 2017

In both German and English, the past perfect describes a time anterior to another moment in the past. Conjugating “to be” in the temporally aloof, twice-distanced “had been” abstracts the relation between subjects and their prior actions. … READ ON


Betty Blayton

October 2017

Ten circular canvases graced Elizabeth Dee’s upstairs annex in a jewel-box exhibition dedicated to Betty Blayton, the late abstract painter whose artistic achievements have been partially eclipsed by her roles as cofounder of New York’s Studio… READ ON

IN PRINT October 2017 [TOC]

Amy Yao

47 Canal | Grand Street

September 2017

At the entrance of Amy Yao’s exhibition here, the viewer is blocked by a chain-link fence draped with laser-cut, red-and-yellow, faux-silk brocade. Though the work’s title, Foreign Investments (Bottarga in Costa Mesa) (all works 2017), refers… READ ON


Sonja Sekula

September 2017

“Everyone from the fifties in New York has a Sonja Sekula story,” Brian O’Doherty wrote in 1971, “yet, though she contributed to period mythology, she herself has no myth.” “Sonja Sekula: A Survey,” the first New York solo exhibition of the… READ ON

IN PRINT September 2017 [TOC]

Jibade-Khalil Huffman

Downstairs Projects

June 2017

“Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult.” This disclaimer, lifted from Michael Jackson’s 1982 Thriller video, serves as the epigraph to Figuration (A), 2017, the title… READ ON


Honoré Sharrer

Columbus Museum of Art

May 2017

This survey of Honoré Sharrer’s work recovers an artist long eclipsed by Cold War cultural politics, bringing her lapidary naturalism out from the overlapping shadows of Joseph McCarthy and Clement Greenberg. Workers and Paintings, 1942, … READ ON