Albert Oehlen
April 25 – May 30, 2009
Luhring Augustine
Painted during a fit of pique that began at breakfast, got worse on the gridlocked drive to the studio, resulted in some brush-throwing and snapping at assistants, but dissipated in time for lunch.
Dana Schutz
“Missing Pictures”
March 13 – April 25, 2009
Zach Feuer Gallery
Dependably creepier in person.
Jacqueline Humphries
April 15 – May 16, 2009
Greene Naftali
The dissonance between the compositional mayhem of these paintings and the effect of the gallery’s natural light on their silvered surfaces is deeply, pastorally pleasant, to the extent that it doesn’t really matter if this is gestural abstraction or “gestural abstraction.”
Richard Tuttle
“Walking on Air”
March 20 – April 25, 2009
Pace Wildenstein
Like death, New Mexico will catch up with you in the end.
Greg Bogin
“I Want to Be Your Friend”
April 17 – May 23, 2009
Leo Koenig, Inc.
Intuitions of the subtle, reassuring mathematical harmony that undergirds reality, as visualized by a worker in a custom auto body shop in Van Nuys who passed out during a spray job on an El Camino when his respirator clogged.
Adel Abdessemed
“Rio”
April 3 – May 9, 2009
David Zwirner
The practice of contemporary art is first of all the construction of an expressive subject, the contemporary artist, whose identity is conjured out of the collective fantasies of viewers, the critical press, and the institutions which exhibit his work and administer its market, and through whose attitudes and beliefs we understand the work of art; thus, looking at an artist’s work is getting to know this imaginary person and seeing the world through his eyes, and interpreting the work of art means asking not What does this mean to me?, but, What does this mean to the artist?