MEXICO CITY Museo de la Ciudad de México The act of non-imposition remains a priority for Soto Climent, who lives and works in Tepoztlán, a small mountain town about 90 minutes south of the city, where he is in close contact with nature.
Satpreet Kahlon
BELLEVUE, WASHINGTON Bellevue Arts MuseumWith a muffled soundtrack of poetry and music running through the darkened space, Kahlon’s exhibition became a total experience, immersing the viewer in an unsettling, unstable place, a site of exodus and arrival, captured in random flashpoints.
Sarah Lucas
LONDON Tate Britain Two monumental cast concrete marrows, Florian and Kevin (both 2013), greet visitors at the entrance to Tate Britain. These blatantly phallic forms are a fitting precursor to “Happy Gas,” an exuberant, if irreverent, survey of Sarah Lucas’s practice over four decades.
Anne Wu
BROOKLYN Smack Mellon Descendants of Bauhaus or De Stijl interiors, Wu’s sculptures assert bright, clean lines and use commonplace industrial materials. They evoke Fred Sandback’s 1999 description of his geometric yarn sculptures as “drawing that is habitable” and prompt associations or recollections.
Rhea Dillon
LONDON Tate Britain Metaphorical storytelling lies at the core of Dillon’s work, and in “An Alterable Terrain,” she applies that approach to sculpture, overlaying expressive narrative onto the language of minimal abstraction.
Georg Baselitz
LONDON Serpentine With their alarming height and imperfect, seemingly unfinished surfaces, which lend a strangely animated quality, Baselitz’s figures present a perplexing dichotomy. They are clumsy and anatomically skew-whiff, yet winningly vulnerable.
Cynthia Lahti
NEW YORK James Fuentes Lahti uses a range of clays, from dark red to porcelain, and she also varies her sculpting, glazing, and firing methods (which include raku and salt firing). Her approach to building heads and figures seem to reference a wide swath of art history.
Elizabeth Turk
NEW YORK Hirschl & Adler Placed in translucent Plexiglas boxes, the three-dimensional furrows are galvanized with the whispers of an otherworldly, impenetrable language, to be navigated without literacy or understanding.
Michael Richards
NEW YORK Bronx Museum of the Arts As “Art You Down?” makes clear, Michael Richards, who died in the terrorist attack on the World Trade Center, was an artist ahead of his time. He focused his practice on Black identity and social injustice, often using casts of his own body to invest the work with personal and political meaning.
Jeanne Silverthorne
NEW YORK Marc Straus This small, intimate show, featuring 11 cast, monochromatic rubber objects ranging in height from 10 to 75 inches, is conceptually divided between works that are simultaneously realistic and abstract and those that are completely figurative and, in a wizardly way, uncannily lifelike.
