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At the foot of a Union Square subway platform staircase, an artist focused on his delicate work, maneuvering a fold of black origami paper along half-open scissor blades. ''Scissor doesn't move, only paper moves,'' he said to the rider posing for him. ''Nice young man,'' he bantered. ''How old are you? Like your hair.'' [ABSTRACT FROM AUTHOR]

Features New York City artist Jim Hodges in light of a solo show of his work at the Museum of Contemporary Art in Chicago, Illinois, through April 1999. Other United States museums and private collectors who own his work; Materials used, including paper napkins, artificial flowers and broken mirrors; Themes; Background and biographical details; Sources of inspiration; Hodges' comments about his work and the satisfaction he finds in it.

The article focuses on the trends and activities of various art institutions in the U.S. in 2012. It says that Metropolitan Museum of Art (MoMA) remains silent over its plans for the Whitney's Breuer Building. It discusses various art shows in 2012 including shows featuring the works of Richard Artschwager and Yayoi Kusama at the Whitney Museum, the "Joseph Albers in America: Painting on Paper" exhibition at the Morgan Library & Museum, and the "Tokyo 1955-1970: A New Avant-Garde" show at MoMA.

''MOSES is described in the Torah as the most modest man who ever lived. My father was the second most. He thought of himself, and wanted others to think of him, as simply ordinary. Perhaps that inspired me to often depict him as Everyman.'' -- Max Ferguson Born in 1912 and congenitally mild-mannered, Richard Ferguson enjoyed the simple pleasures of New York City: the Sunday paper, a pastrami on rye at Katz's Delicatessen, boardwalk games in Coney Island with his wife. He was a father of four, and his youngest, Max, became an artist. [ABSTRACT FROM AUTHOR]

IT has already been a huge crowd pleaser in San Francisco and Paris, and now ''THE STEINS COLLECT: MATISSE, PICASSO AND THE PARISIAN AVANT-GARDE'' is coming to New York, where it opens at the Metropolitan Museum of Art on Tuesday. The exhibition focuses on Gertrude Stein and her brothers, Leo and Michael (as well as Michael's wife Sarah), who settled in Paris in the early years of the 20th century and befriended artists like Matisse and Picasso. Their home became a famous gathering place where they held weekly salons for artists and collectors, scholars, dealers and aristocrats to see the latest examples of what was being produced during those years. And over time the family amassed a formidable collection of paintings, drawings, prints and sculptures that offers a snapshot of a seminal era in the history of art. The exhibition showcases the Steins' collection, with both well-known and obscure images that total around 200 paintings, sculpture and works on paper. The show begins with the art Leo Stein collected when he moved to Paris in 1903 -- paintings and prints by Cezanne, Degas, Toulouse-Lautrec, Manet and Renoir -- and goes on to chronicle the family's acquisitions in subsequent years, examining the close relationships they formed with many of the artists they encountered. Through June 3, (212) 535-7710, metmuseum.org. [ABSTRACT FROM PUBLISHER]

Exhibitions at Asia Society often reveal an unfamiliar dimension to an artist's work. When the society presented a show about the Japanese neo-Pop artist Yoshitomo Nara last year, for example, it examined how his passion for music influenced his art. A new exhibition by the installation artist Sarah Sze will explore her process and her interest in traditional Chinese painting. ''Sarah Sze: Infinite Line,'' which runs Dec. 13 to March 25, will focus specifically on the artist's works on paper. And for the first time, Asia Society's large window facing Park Avenue, by 70th Street, will be uncovered so that passers-by will be able to see a site-specific installation Ms. Sze (pronounced ZEE) has created for the space. [ABSTRACT FROM AUTHOR]

The boundaries of Occupy Wall Street expanded beyond Zuccotti Park over the weekend, as a splinter group briefly took over an art gallery in SoHo. On Saturday, during a talk about conceptual art at the gallery, Georgia Sagri, a Greek artist, suddenly rose and shouted out, ''This is an occupation,'' witnesses said. About a dozen other people joined Ms. Sagri in declaring the gallery, Artists Space, an autonomous zone. They handed out fliers and taped pieces of pink paper to a wall headed ''Rules of the Space.'' [ABSTRACT FROM PUBLISHER]

WHITE PLAINS THE diversity of work created by ceramic artists from around the region -- from clay formed so finely it resembles furled paper to orbs that appear immovable in their massiveness -- is currently on view in ''Earth,'' an exhibition at ArtsWestchester's Arts Exchange here, presented in cooperation with Clay Art Center in Port Chester. [ABSTRACT FROM PUBLISHER]

IN Milton Resnick's living quarters, a spare cube built over a soaring, two-story studio space in a former synagogue on Eldridge Street in Manhattan, the monastic iron bed, as narrow as a child's cot, is unmade, a tangle of sheets at the headboard. But on a garment rack in a closet, worn tweed jackets hang expectantly. There's a cane next to the bed, and in the paint-flecked mini-studio, the walls are covered with bright, kinetic paintings, pencil sketches on lined Manila paper and photographs. You could imagine that Mr. Resnick, the irascible ''painter's painter'' Roberta Smith described as ''the last Abstract Expressionist'' in the obituary she wrote for The New York Times when the artist died almost eight years ago, had just wandered out for coffee. A calendar propped open on a chair declares it to be February 2004, the month before Mr. Resnick took his life at 87. On a bookshelf, above the collected works of Edgar Allen Poe, is a fairly recent photograph of Mr. Resnick and his wife, the artist Pat Passlof. They are grinning like conspirators, two pairs of expressive eyebrows aloft. [ABSTRACT FROM AUTHOR]

BASEL, Switzerland -- The German artist Hans-Peter Feldmann said that the sheer size of his $100,000 Hugo Boss Prize inspired him to paper a gallery at the Solomon R. Guggenheim Museum in New York last month with 100,000 $1 bills. Were Mr. Feldmann at Art Basel this week, $100,000 might not have seemed like so much after all. Examples of his work are in many booths at this granddaddy of contemporary art fairs, some priced around $50,000. And if business is as brisk as people say it is, by the time Art Basel ends on Sunday, Mr. Feldmann may have made another $100,000, and probably more. [ABSTRACT FROM PUBLISHER]

For several years now I have been following the career of Amy Wilson, an artist based in Jersey City whose drawings and paintings are disarmingly naive yet incisive. In 2005 she had a powerful mini-retrospective at the Bellwether Gallery in New York, featuring more than 75 works, many about political issues like the war in Iraq. She has kept a low profile since then, but now she is back with a survey show at the Hunterdon Art Museum. Ms. Wilson, who is 35, and who teaches at the School of Visual Arts in New York, has mellowed, or at least there is evidence of that in the 18 works assembled for the Hunterdon show, organized by the staff curator Mary Birmingham. Each one deals with memories of childhood and adolescence. All are from 2008, with the exception of a doll house made of paper, fabricated this month especially for this show. [ABSTRACT FROM PUBLISHER]

This article focuses on the Mr. B diaper bags sold by artist Toland Grinnell. Grinnell and his wife received many designer diaper bags as gifts and decided they did not work. His thoughts on the pricing of the bags is discussed. Grinnell's exhibition of trunks, "Pied-a-Terre," at the Brooklyn Museum in Brooklyn, New York is mentioned.

Presents several art exhibitions in New York. "Two Sculptures for a Room by Palermo," by Gerhard Richter; Works of artists Richard Artschwager and Ed Ruscha; "Works on Paper, 1957-1964," by Robert Ryman.

The article presents information on the art exhibition by Michael Mazur in Manhattan. For one who started out under the spell of the gloomy graphic artist and sculptor Leonard Baskin, Mazur has come a distance. Primarily known as a printmaker, he is also a draftsman, sculptor and painter. The canvases and works on paper seem to have progressed beyond the Chinese influence to a looser, more open handling of paint and space. The resulting exuberance and canvases are less structured, their sunnier colors and freer linear forms floating in a limitless expanse.