Philippe Parreno, Quasi Objects: My Room is a Fish Bowl, AC/DC Snakes, Happy Ending, Il Tempo del Postino, Opalescent acrylic glass podium, Disklavier Piano, 2014.

Ana Teixeira Pinto

What do things want? The notion of animism is correlated with the problem of agency—who or what can be said to have volition. According to Norbert Wiener, “our consciousness of will in another person is just that sense of encountering a self-maintaining mechanism aiding or opposing our actions.”(1) One can... continue reading
Ann Böttcher, Transit Portal (The War Museum/Svinøya, Svolvær, Lofoten, NO), 2013.

Tyler Coburn

At one point in his 1960 book, Crowds and Power, Elias Canetti surveys “the symbology of nation states.”  The English, he writes, see themselves as captains surrounded by sea; the Swiss are a single body linked beneath mountain peaks. Germans, in turn, assume symbolic form as an army, which Canetti... continue reading
View of “The Word Today Serves No One Except To Say To The Grocer Give Me A Pound Of Lentils,” Supportico Lopez, Berlin, 2014.

Ana Ofak

Los Angeles has long been pursuing the economies of pink, but it has been pursuing a phantom. Pink is a non-existent wavelength of light. We cannot perceive it, but literally imagine it. Its features disclose themselves in every BPA-free bottle of pink coconut water, in Lindsay Lohan’s strawberry blonde tresses... continue reading
View of Adel Abdessemed, “Solo,” Yvon Lambert, Paris, 2014.

Mara Hoberman

The news that Yvon Lambert is closing his Paris gallery is hardly shocking. What is remarkable, however, is how long his run lasted. Fifty-plus years spent working with contemporary artists puts Lambert in the rare position of being both an art historical footnote and a current art market player. The... continue reading
The 6th Annual Migrating Forms


Cory Arcangel, Freshbuzz (, 2014.

Genevieve Yue

“Migrating Forms” is easily New York’s most eclectic film festival. A glance at the program, now in its sixth year, can be dizzying: a half-inch videotape documentary from the seventies here, a Korean art film there, and all manner of experimental film and artists’ film in between. Instead of theme,... continue reading
View of Christopher Williams, “For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 19),” David Zwirner, New York, 2014.

Karen Archey

Do you think any collectors were bothered by the raw, open drywall and exposed electric wiring at Christopher Williams’s newest exhibition at David Zwirner? Or did they read it as a bad-boy “fuck you” without actually feeling insulted? Did they read it as Christopher Williams probably intended, as a savant... continue reading


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MIA Art Fair
The Third Line
Art Monthly
Vitamin creative space
Sprueth Magers
galeria nara roesler
Xavier Hufkens
Carolina Nitsch
Luisa Strina
Anton Kern Gallery