Sarah Braman

NEW YORK Mitchell-Innes & Nash
While Braman is known for large-scale works, her smaller sculptures command equal recognition. Related to Minimalist traditions, these works use deceptively simple components to create a consortium of forms and effects, often highly colorful.

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Martin Puryear

VENICE U.S. Pavilion, 58th Venice Biennale
“Liberty/Libertà,” Martin Puryear’s U.S. pavilion exhibition, uses subtle, disarming, and purposeful juxtapositions to create a mindful meditation on what it means to be an American artist and citizen today.

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Kader Attia

BERKELEY Berkeley Art Museum and Pacific Film Archives
Attia, a French Algerian artist currently living in Berlin and Algiers, has been working with the concept of repair from the trauma of war for more than a decade. He is particularly interested in the process of healing—for individuals and for societies—and in repairing the damage caused by conflict and by colonization.

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Oliver Ranch: A Relationship to Land

Oliver Ranch is one of the few American sculpture parks in which the works have all been conceived explicitly on and for the site—relationship to land being the one imposed constraint. The Olivers’ approach to commissions involves working intensively with artists and asking them to commit to a multi-season study of the land as part of the process.

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Nari Ward

NEW YORK New Museum
Amazing Grace (1993), an installation of fire hoses and nearly 300 abandoned baby strollers first shown at a firehouse in Harlem, originally referred to the crack epidemic, AIDS, and homelessness sweeping through that neighborhood. Now, as one walks through the strollers along a pathway formed from the hoses while listening to Mahalia Jackson sing the gospel song of the title, it is hard not to think of family separations and the ongoing humanitarian crisis at the border.

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