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At Jane Lombard gallery — “Your Birth is my Birth: Merrym Omotayo Alaka and Sam Frésquez”

At Jane Lombard gallery — “Your Birth is my Birth: Merrym Omotayo Alaka and Sam Frésquez”

At Jane Lombard gallery — “Your Birth is my Birth: Merrym Omotayo Alaka and Sam Frésquez”

At Jane Lombard gallery — “Your Birth is my Birth: Merrym Omotayo Alaka and Sam Frésquez”

At Jane Lombard gallery — “Your Birth is my Birth: Merrym Omotayo Alaka and Sam Frésquez”

At Almine Rech gallery in NYC: “Vaughn Spann: (All) Americans” The US flag is of perennial importance to artists and Spann has done something remarkable. I wrote the gallery text accompanying the show

Here’s an excerpt:
“A curious thing about this country’s national anthem “The Star-Spangled Banner,” is that in its first stanza (which is usually the only one sung when publicly performed) it poses questions. It asks the listener, “Can you see (by the dawn’s early light)?” these stars and stripes, putatively a beacon for those who wish to be free of tyranny. It asks whether we can affirm that it still does “wave (o’er the land of the free and the home of the brave).”

Though a Black and Indigenous man — Crispus Attucks — was among the first to die for the American revolutionary cause that impelled the writing of Francis Scott Key’s anthemic poem, currently a White, Christian nationalist revanchist movement led by the executive branch of the federal government has sought to make non-White immigrants incidental to the story of this nation’s creation and subsequent development into a super power. For people who look like Attucks, can the flag beckon to a welcoming place?”

At Almine Rech gallery in NYC: “Vaughn Spann: (All) Americans” The US flag is of perennial importance to artists and Spann has done something remarkable. I wrote the gallery text accompanying the show

Here’s an excerpt:
“A curious thing about this country’s national anthem “The Star-Spangled Banner,” is that in its first stanza (which is usually the only one sung when publicly performed) it poses questions. It asks the listener, “Can you see (by the dawn’s early light)?” these stars and stripes, putatively a beacon for those who wish to be free of tyranny. It asks whether we can affirm that it still does “wave (o’er the land of the free and the home of the brave).”

Though a Black and Indigenous man — Crispus Attucks — was among the first to die for the American revolutionary cause that impelled the writing of Francis Scott Key’s anthemic poem, currently a White, Christian nationalist revanchist movement led by the executive branch of the federal government has sought to make non-White immigrants incidental to the story of this nation’s creation and subsequent development into a super power. For people who look like Attucks, can the flag beckon to a welcoming place?”

At Almine Rech gallery in NYC: “Vaughn Spann: (All) Americans” The US flag is of perennial importance to artists and Spann has done something remarkable. I wrote the gallery text accompanying the show

Here’s an excerpt:
“A curious thing about this country’s national anthem “The Star-Spangled Banner,” is that in its first stanza (which is usually the only one sung when publicly performed) it poses questions. It asks the listener, “Can you see (by the dawn’s early light)?” these stars and stripes, putatively a beacon for those who wish to be free of tyranny. It asks whether we can affirm that it still does “wave (o’er the land of the free and the home of the brave).”

Though a Black and Indigenous man — Crispus Attucks — was among the first to die for the American revolutionary cause that impelled the writing of Francis Scott Key’s anthemic poem, currently a White, Christian nationalist revanchist movement led by the executive branch of the federal government has sought to make non-White immigrants incidental to the story of this nation’s creation and subsequent development into a super power. For people who look like Attucks, can the flag beckon to a welcoming place?”

At Almine Rech gallery in NYC: “Vaughn Spann: (All) Americans” The US flag is of perennial importance to artists and Spann has done something remarkable. I wrote the gallery text accompanying the show

Here’s an excerpt:
“A curious thing about this country’s national anthem “The Star-Spangled Banner,” is that in its first stanza (which is usually the only one sung when publicly performed) it poses questions. It asks the listener, “Can you see (by the dawn’s early light)?” these stars and stripes, putatively a beacon for those who wish to be free of tyranny. It asks whether we can affirm that it still does “wave (o’er the land of the free and the home of the brave).”

Though a Black and Indigenous man — Crispus Attucks — was among the first to die for the American revolutionary cause that impelled the writing of Francis Scott Key’s anthemic poem, currently a White, Christian nationalist revanchist movement led by the executive branch of the federal government has sought to make non-White immigrants incidental to the story of this nation’s creation and subsequent development into a super power. For people who look like Attucks, can the flag beckon to a welcoming place?”

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Jeffrey Deitch in Los Angeles: “Celeste Dupuy-Spencer: Burning in the Eyes of the Maker.” This is a powerful show.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Karma gallery in Los Angeles: “Richard Mayhew: Understory” organized by Mia Matthias.

That palette sends me every time.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At Perrotin gallery in LA: Todd Gray’s solo show “Portals.” He’s making great work right now.

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At the 1-54 Fair in Chelsea some wonderful things: work by Shourouk Rhaiem; two by Sophia Bounou, “Viridarium,” 2026, and “Pattern” 2024; a few by Samuel Nnorom; a selection of works by Marcel Gotène (who passed on in 2013); Eymric Moderne, “Les trois oiseaux en échos” — “The Three Echoing Birds”; Kendra Frorup, A Light Sense” 2024; Gerardo Castro (who also passed away), “Angel’s Sugar” 2018 and “Obba - El Aroma de Las Flores,” 2022; two pieces by Candice Tavares “Shower Me With Your Love” and “The Light “; with by Rommulo Vieira Conceição “The physical space requires the other to be either ally or enemy,” 2025; and Lidia Lisbôa, “Sem título” [Untitled], da série [from the series] “Tetas
que deram de mamar ao mundo,” 2022

See my review for Hyperallergic here: https://hyperallergic.com/the-joy-of-discovery-at-1-54-art-fair/

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Skarstedt gallery: “Édouard Vuillard: Early Interiors.” Most of the paintings are tiny, maybe 4x6 inches or close. But they are full of life and ambition.

There is a bit of wall text that’s illuminating too: “Although he was intimately familiar with the rooms of his social and family life, Vuillard, again and again, offers us disorienting visions of the domestic interior, which became the stage for a radical reconstruction of pictorial space. Flattened perspectives, dense ornamental patterning, and compressed spatial arrangements dissolve distinctions between figure and ground, collapsing architectural space onto the flatness of the picture-plane. Narrative and perspectival coherence are often subordinated to pictorial structure, as figures and objects disappear into continuous fields of color and motif.“

Exactly!

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

At Galerie Gmurzynska: “Wifredo Lam & Pablo Picasso.”

Clearly I prefer looking at Lam’s stuff.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

Some good things at the Whitney Biennial.

At New Discretions gallery: “Field Agents,” a solo show of new work by Christina Kruse, curated by Tamar Dresdner—ancient and modern simultaneously.

At New Discretions gallery: “Field Agents,” a solo show of new work by Christina Kruse, curated by Tamar Dresdner—ancient and modern simultaneously.

At New Discretions gallery: “Field Agents,” a solo show of new work by Christina Kruse, curated by Tamar Dresdner—ancient and modern simultaneously.

At New Discretions gallery: “Field Agents,” a solo show of new work by Christina Kruse, curated by Tamar Dresdner—ancient and modern simultaneously.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

For the New York Times, I’ve written an “Art Gallery Shows to See in April column: https://www.nytimes.com/2026/04/02/arts/art-gallery-shows-to-see-in-april.html.

Images 1-5 are from the exhibition “Waves of Knowing” Ryan Lee Gallery, which gathers together some compatriots of the Hawaiian artist group Metcalf Chateau.

Images 6-10 are of the work of Chester Higgins at Bruce Silverstein gallery all about the endurance of African diasporic people.

The last image (not taken by me) is of the work of Pàulla Scàvazzini, a Brazilian artist from São Paulo, and Austin Fields, a glass blower, Texas native who lives in Los Angeles. The glass work swims in the seas of the paintings.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.

At the Bruce Museum: “Ursula von Rydingsvard: states of becoming.” She is the real deal.