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Reviews the book `Double Fold: Libraries and the Assault on Paper,' by Nicholson Baker.

The article reviews the books "The Sky," by Yoshitaka Amano, "Conan," by Robert E. Howard , and "The Amazing Spiderman," by Gil Kane.

The article reviews the dance performance "Beasts and Plots," by Gwen Welliver and other dancers, performed at the New York Live Arts in New York.

The article reviews the book "Miracles of Life: Shanghai to Shepperton: An Autobiography," by J. G. Ballard.

The article discusses the Amplify 2013: Rotation music festival , held at the TriBeCa gallery in New York City.

Reviews the exhibition Antonin Artaud: Works on Paper at the Museum of Modern Art in New York City. What the drawings meant to Artaud, who drew as a form of therapy; His influences; Personal life.

Reviews the group show of art on paper by six emerging artists like John Hatfield, Glenn Baxter, Tony and Ruth Ann Fredenthal at The Sculpture Center in Manhattan, New York City ending on December 23, 1994.

Reviews the dance-theater piece `The Pink: A Paper Ritual of Eros,' directed by Muna Tseng.

Reviews Sanford Smith's show `Works on Paper' at the Seventh Regiment Armory, New York, through March 12, 1995.

Steven Harvey Fine Art Projects 24 East 73rd Street, Second Floor, Manhattan [ABSTRACT FROM PUBLISHER]

Journalists feeling beleaguered -- that is to say, journalists -- might find a wry glimmer of hope in the Michael Frayn play ''Alphabetical Order,'' which is having its New York premiere courtesy of the Keen Company. The play, which opened on Tuesday night at the Harold Clurman Theater on Theater Row, depicts the frantic antics at a withering daily newspaper in the British provinces. No, withering is not a cheering adjective to apply to a newspaper. (Or a fresh one, for that matter.) But this modest, tidy comedy dates from 1975. If newspapers have been shriveling since the distant predisco days, perhaps they can look forward to a twilight as long as that of the theater itself, which was declared to be dying long before the Internet was a twinkle in anybody's eye. [ABSTRACT FROM AUTHOR]

The revised edition of Nancy Berner and Susan Lowry's ''Garden Guide: New York City'' (W. W. Norton; $22.95) has the same number of gardens as the original 2002 edition (100) but 25 of them are new. There are well-publicized additions like the High Line, and surprises, like the Elevated Acre on the roof of 55 Water Street, which has a spectacular view of the Brooklyn Bridge and the harbor, and Swindler Cove Park, a five-acre riverfront park adjacent to Public School 5 that opened in 2003 at Harlem River Drive and Dyckman Street. [ABSTRACT FROM AUTHOR]

By now it's no surprise to find a museum-worthy show of a major artist at a Chelsea gallery. The spoils of this season are such that a large trove of 1970s and '80s Lichtensteins arrived last month without much fanfare at the Gagosian Gallery on West 24th Street, overshadowed by another Gagosian coup -- Monet's late paintings -- a few blocks away. At the Lichtenstein exhibition it's harder to forget that you're in a place of business. The bulk of the more than 50 works in ''Roy Lichtenstein: Still Lifes'' comes from unnamed private collections, not museums, and some are for sale. The very idea of Lichtenstein, who died in 1997, as a studious genre painter may seem like a market-generated fiction; certainly the show is less inviting than the gallery's ''Roy Lichtenstein: Girls'' in 2008. [ABSTRACT FROM PUBLISHER]

''Undercover Boss,'' a CBS reality show that turns the tables on management, seems tailor-made for the anticorporate rancor of the times, but if anything, it paints too rosy a picture of white-collar benevolence. In an ideal reality revenge series, Goldman Sachs's chief executive, Lloyd C. Blankfein, who was just given a bonus of $9 million, would be stripped of his company cars and bespoke suits and sent to work -- under a pseudonym -- as a company janitor. A few days scrubbing the men's room floor would surely give Mr. Blankfein some insight into what life is like for employees who don't make bets with other people's money. [ABSTRACT FROM PUBLISHER]

The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major ''isms.'' She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard. Then in 1977 -- just shy of her 41st birthday -- Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980. [ABSTRACT FROM PUBLISHER]

For most of its Friday-night concert at the Miller Theater at Columbia University the Columbia Ballet Collaborative looked exactly like what it is, a student troupe. This was sometimes endearing: hard to resist the joyous smiles of the 10 female performers in Bruce Wood's ''Local 126,'' a pleasing, predictable rush of interlocking formations and movement styles set to a cascade of Vivaldi and Bach. [ABSTRACT FROM PUBLISHER]

The article reviews a dance performance by Marie Cool and Fabio Balducci at the show "Performa 07," at various locations in New York City.

The article reviews a photography exhibition titled "Daniel Gordon: Thin Skin II," by Daniel Gordon at the Zach Feuer Gallery in New York City.

The article reviews a dance performance by the Wally Cardona Quartet at the Dance Theater Workshop in New York City.

The article reviews the play "The History of Valentyne and Orson," directed by Ralph Lee and performed by Ian Lassiter and Tom Marion at the Cathedral Church of Saint John the Divine in Morningside Heights, New York City through Sunday.

The article reviews the dance performance "We Failed to Hold This Reality in Mind," by Hooman Sharifi at the Norway in New York Festival held in New York.

Reviews art exhibition of Lyonel Feininger at the Achim Moeller Fine Art in Manhattan, New York.

Reviews the art exhibit "Giuseppe Penone: The Imprint of Knowing," shown at the Drawing Center in Soho, New York.

Reviews the art exhibition 'The Changing of the Avant-Garde: Visionary Architectural Drawings From the Howard Gilman Collection,' on view at the Museum of Modern Art in New York City through January 6, 2002.

Reviews the exhibition 'David to C é zanne: 19th Century French Drawings,' at the Pierpont Morgan Library in New York City until September 8, 2002.

Reviews the art exhibition `Master Drawings From the Smith College Museum of Art,' at the Frick Collection in New York City.

The article reviews several art exhibitions in New York City including "Zarina: Paper Like Skin," at the Guggenheim Museum, 1071 Fifth Avenue, 89th Street, "Drawing Surrealism," at the Morgan Library and Museum, 225 Madison Avenue, 36th Street, and "Projects 99: Meiro Koizumi," at the Museum of Modern Art.

Reviews the art exhibition "Works on Paper From the 70's, 80's and 90's," by Norman Bluhm at the James Graham & Sons in Madison Avenue, New York City.

Reviews several exhibitions featuring the art works of Ellsworth Kelly. `Ellsworth Kelly: The Early Drawings, 1948-1955,' at the Arthur M. Sackler Museum, Cambridge, Massachusetts; `Line Form Color,' at the Fogg Art Museum, Cambridge, Massachusetts; `Ellsworth Kelly: Drawings 1960-1962,' at Matthew Marks Gallery, New York, New York.

Reviews several dance performances choreographed by Ornelas and MacFarlane and performed at the Washington Square Church. Includes the dance `Hereafter Therebefore'; `Volar'; `Everyday Dances.'

Reviews the architecture exhibition `Archigram 1961-74,' at the Thread Waxing Space, 476 Broadway, New York City, through April 13, 1998.

Reviews the exhibit of hallucinatory drawings by Achilles G. Rizzoli entitled `A.G. Rizzoli: Architect of Magnificent Visions,' which opened on January 17, 1998 at the Museum of Folk Art, in New York City.

Reviews the art exhibition `A Decade of Collecting: Recent Acquisitions in Contemporary Drawing' at the Museum of Modern Art in New York City through January 13, 1998.

Reviews the exhibition, `From Durer to Rauschenberg: A Quintessence of Drawing,' at the Soloman R. Guggenheim Museum at Fifth Avenue, New York.

Reviews the drama `Half Off.'

Reviews the art exhibition titled `Plains Indian Drawings, 1865-1935: Pages From a Visual History,' at the Drawing Center. Duration of the exhibition; Who sponsored the show's tour.

Reviews the live performance of a dance by Gina Bonati and Marcela Ortiz de Zarate, on March 17, 1995 at the Dia Center for the Arts.