Ridgefield, Connecticut Aldrich Contemporary Art Museum Analia Segal, now living and working in New York City, grew up in Buenos Aires during the Dirty War waged by the ruling civic-military dictatorship, when thousands of citizens were disappeared—picked up at night, never to be seen again (a small number have been discovered in mass graves).
Tanya Aguiñiga
New York Museum of Arts and Design “Have you been part of a political party or social group? Has anyone in your family been convicted of a crime? What is the purpose of your trip?” These and similar questions, printed on the steps of two flights of stairs, served as the thematic entry point to
Gregg Louis
New York Nohra Haime Gallery Hair is a loaded subject. Tied to gender, ethnicity, class, age, and health, it reveals identity. If we care enough about our hair—and provided that we have enough to make it signal all that we want it to—it can say a lot about who we are, where we come from,
Minoru Ohira: Attractive to the Hand
Minoru Ohira uses wood in ways that make it seem like a newly discovered material. Surfaces flicker from light to dark—monochromatic or flecked with color, matte or gleaming, bristling with texture or smoothly uninflected, richly stained or overtly natural.
Interfering With Space: A Conversation with Mary Early
For years, Mary Early’s modus operandi has been to plot the placement of objects on floor plans and architectural elevations. Spaces, she insists, “activate” the art that occupies them. She began, more than 15 years ago, by making cast concrete and wood works sealed in a coating of beeswax.
Material States: A Conversation with Marcela Cabutti
Argentine artist Marcela Cabutti creates simple, elegant, and subtle works of fantasy and magical transformation based on a strong connection between forms and materials, particularly blown glass and fired clay. While some viewers may think of a Surrealist legacy, her sculptures and installations also draw on the literary tradition of Jorge Luis Borges, Julio Cortázar,
Creating a Way Back: A Conversation with Martin Soto Climent
Using found objects such as pantyhose, purses, bras, beer cans, and shoes, Mexican artist Martin Soto Climent creates sensual, anthropomorphic sculptures with minimal intervention. Easily dismantled (with the objects returned to their original state), these poetic, continually evolving juxtapositions raise questions about ephemerality, consumption, destruction, and desire.
The Evolution of a Four-Legged Table: A Conversation with Nahum Tevet
From his childhood on a Socialist-Zionist kibbutz to his present studio workshop in south Tel Aviv, the innovative Israeli sculptor Nahum Tevet views his world, and the things in it, in a very specific manner. Driven by an independence of thought and action, he has parlayed a limited Minimalist ideal into extensive installations and discerning
Liz Glynn
North Adams, Massachusetts MASS MoCA “The Archaeology of Another Possible Future,” the title of Liz Glynn’s monumental show, is enigmatic only until you see the reality, which lays out her view of a pressing question: “What happens to stuff, and the people who make stuff, in the age of an increasingly virtual, dematerialized economy?”
Hugh Hayden
New York White Columns and Lisson Gallery Hugh Hayden’s wooden sculptures—skeletons and furnishings fused with branches—evoke many associations. His recent debut solo exhibition at White Columns, which followed showings at Frieze London and FIAC Paris (after a 2018 MFA from Columbia University, where he served as Rirkrit Tiravanija’s teaching assistant), featured two large-scale works.
