Hot on the heels of her first solo exhibition with Chantal Crousel (“Ajar” at the gallerist’s satellite showroom, La Douane, October 18–December 7, 2012), Haegue Yang’s current show at Crousel’s flagship gallery moves beyond the venetian blind installations and drying rack sculptures for which the South Korean-born, Berlin-based artist is... continue reading

In 1967, a young Robert Barry spent six weeks on a former racehorse farm in Belmont, New York, as part of an artists-in-residence program sponsored by the Whitney Museum. The documentary photographs he shot during his summer on the farm—a medley of picket-fenced country roads, grazing horses, and artists convening... continue reading

It’s hard to pinpoint the moment that FIAC actually started. Extramural events—gallery unveilings, private museum tours, an “immaterial” auction, a magazine launch, a performance on a bateau mouche, and lots and lots of parties—began in earnest on Monday, just one day after Frieze ended, two days before FIAC’s “guest of... continue reading

Repetition is never sameness. This is the first thought I had seeing Taryn Simon’s “A Living Man Declared Dead and Other Chapters I–XVIII” (2008–11). An aesthetics of taxonomy, each chapter in the work is comprised of identical framed panels of varying width showing three types of information under glass: 1)... continue reading

This is a strange exhibition. Not because it is bad, by any means. Even if it might not succeed at what it sets out to do, it nevertheless manages to achieve quite a lot. The continental sequel to a group exhibition that took place last summer at Bischoff/Weiss gallery in... continue reading

For his second exhibition at Air de Paris, Thomas Bayrle presented three series of works from different periods of his career. Following a logic of inverse chronology, the exhibition proposed a progressive dive into the history of Bayrle’s work, from his most recent grey cardboards to his more colorful paintings,... continue reading