After Doug Wheeler’s impressive but overhyped “Infinity Room,” Fred Sandback’s humble installation in the same space at David Zwirner is almost a relief. (More→)

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This weekend, Sam Moyer’s Slacktide closes at Rachel Uffner Gallery. Also recommended: Fred Sandback’s endearing minimalism, Anne-Lise Coste’s cursive graffiti, Liz Magic Laser’s deft political comedy, and Martos Gallery’s stab at what constitutes our “new tradition.” (More→)

I want to begin this post not with Ryan McNamara, but with another Ryan in the art world: Ryan Trecartin. Like Trecartin, McNamara reinvents the product of his medium to contend with a new digital era. (More→)

“With “Picks,” I call attention to shows at the end of their run that I think are worth seeing before they close for good. (More→)

With “Hourglass,” a new series of large-scale drawings, Alyssa Pheobus Mumtaz extends her interest in textiles into a full-in exploration of pattern as a mode of metaphysical inquiry. (More→)

In the small space of Rachel Uffner gallery, Moyer’s dark and moody paintings, which in some cases are almost as large as the walls on which they hang, are imposing. (More→)

The new series of works in Servane Mary’s exhibition “God Dies” reveals the artist’s innate understanding of the sensuous potential of materials, techniques, and their combination. (More→)

Stephen Prina’s career-long interest in the discourses in which art participates makes him a highly appropriate artist with whom to begin a blog called The Painted Word. (More→)

__ more realism, __ more representational objects, __ more lines, colors, forms, and contours, __ more pigments, __ more brushstrokes, __ more evocations, __ more frames, walls, galleries, museums, __ more gnawing at the tortured face of the god Flatness, __ more audience required.