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This article presents the author's views regarding the extensive retrospective exhibition of the work of Robert Morris at the Guggenheim Museum, uptown and downtown, have titled the exhibition "The Mind/Body Problem," probably because a certain number of Morris's works are animated by the old philosophical conundrum. A work of visual art-paint and canvas, ink and paper, metal or stone-yields nothing in point of grossness to the fleshy matter of which the arm is framed. So when one tries to perform a Wittgensteinian subtraction and ask what remains of the work of art when one take away its "body" viz., whatever has weight and takes up space and is subject to chemical action. One answer might be, nothing.

This article presents the author's views on the works of artist Jennifer Bartlett. The author visited the immense retrospective exhibition of the work of Jennifer Bartlett at the Brooklyn Museum. One of his work is celebrated Rhapsody which consists of nearly a thousand enameled plates, each one foot square, regimented with one exception to form a grid seven squares high, in rows 141 squares long. The modules are separated from one another by one precise inch. Each module is overlaid with a silver grid silk-screened on, reminiscent of that system of squares art academic artist will impose on a drawing to facilitate transfer to the larger surface on which the final work is to be executed.

The article reviews the exhibition "Ceci n'est pas," at the Sara Meltzer Gallery.

Reviews the exhibitions "Susan Derges: Recent Work," at Michael Hue-Williams Gallery in London, England from May 25 to June 26, 1999 and "Woman Thinking River," at James Danzinger Gallery in New York from March 31 to May 8, 1999.