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It is hard to define sculpture these days. Artists continue to make three-dimensional objects, but the range and variety of materials they employ defy classification. This is enchantingly evident in a show by the Armenian artist Karen Sargsyan at the Hudson Valley Center for Contemporary Art. Mr. Sargsyan, 36, makes figurative sculptures from cut paper. The works in the current show were created during his stay in Peekskill last fall as the center's artist in residence. Depending on how you look at it, the exhibition consists of either hundreds of individual cut paper sculptures arranged across the mezzanine gallery or a single installation made up of many parts. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Works on Paper" at Danese in New York City, New York.

The article reviews the paper cutting exhibition of Swoon at Deitch Projects museum in New York City.

Is paper passe? Your answer will most likely depend on whether you're reading this sentence on newsprint or on a screen. But it's safe to say that artists and designers aren't ready to quit the stuff, at least by the measure of the latest show at the Museum of Arts and Design. They are, however, willing to pierce, shred, carve and slice it. ''Slash: Paper Under the Knife,'' the third show in the museum's Materials and Process series, explores the sometimes violent, always intricate art of paper cutting. (It follows ''Radical Lace and Subversive Knitting'' and ''Pricked: Extreme Embroidery'' in 2007 and 2008.) [ABSTRACT FROM PUBLISHER]

The article reviews the art exhibition "Cri du Coeur," by Nancy Spero at the Galerie Lelong in New York City.

The article reviews the exhibition "Slash: Paper Under the Knife," at the Museum of Arts and Design in New York City through April 4, 2010.

The article reviews the "Paper Exhibition" at the Artists Space in New York.

The article reviews the exhibition of Ursula von Rydingsvard at Dieu Donné in New York City.

Reviews two art exhibitions featuring the works of Cory Arcangel at the Team Gallery and Deitch Projects in New York.

The article reviews the exhibition "A Century at American Art on Paper" at Debra Force Fine Art in New York City.

Reviews the art exhibition 'Works on Paper,' at the Seventh Regiment Armory in New York City.

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

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.

The article reviews the art exhibition "Poem (Music Drawings)," by Ga Hae Park at Bronx River Art Center gallery in New York City.

The article reviews the art exhibition "Anthem," by Dylan Graham at the RARE gallery in New York City.

The article reviews several exhibitions in New York City in 2012 including "Sanford Biggers and Jennifer Zackin: A Small World" at the Jewish Museum through August 26, "The Dawn of Egyptian Art" at the Metropolitan Museum of Art through August 5 and "Josef Albers in America: Painting on Paper" at Morgan Library & Museum through October 14.

The article reviews several African American art exhibits which took place in 2009 including the exhibition "No Place: A Ritual of Empathics" at the Studio Museum of Harlem in New York, "The Contemporary Frank Stewart: Painted Sounds" at Essie Green Galleries in New York City and "Black on White: 12 Works on Paper" at the Bill Hodges Gallery in New York City.

The article reviews the photography exhibition "Impressed by Light: British Photographs from Paper Negatives, 1840-1860" at the Metropolitan Museum of Art in New York City from September 25-December 31, 2007.

The article presents reviews of several art exhibitions held in New York City in 2012 including "Jorinde Voigt" at the David Nolan Gallery, "William Bailey: New Paintings" at the Betty Cuningham Gallery and "Tom Goldenberg: Recent Paintings and Works on Paper" held at the artist's studio.

The article reviews several art exhibitions taking place in 2009 including “Color Exchange: Berlin–New York” at the Metaphor Contemporary Art gallery in Brooklyn, New York City, from March 27th through April 26, 2012, “James Little: De-Classified” at the June Kelly Gallery in New York City, from May 7th through June 9, 2009, and “Nicolas Carone: Abstraction/Figuration: Works on Paper” at the Lohin Geduld Gallery in New York City, from April 30th through June 6, 2009.

The artist and poet Douglas Florian is best known for writing and illustrating award-winning children's books that are wittily educational, especially about animals. Working in gouache with collage, he depicts just about anything with an impressive combination of accuracy and improvisation and is similarly free with language. Mr. Florian, who always works on paper bags, has shown in art galleries since 1985, presenting work that is generally more abstract if no less playful than his illustrations. Here his excellent eye for color shines, and an organic multiculturalism is given full expression. Tantra, Elizabeth Murray, maps, free-range calligraphy, Marimekko handmade wrapping paper and Gerhard Richter all come to mind in this show of 33 small paintings, most done this year. [ABSTRACT FROM PUBLISHER]

THURSDAY night is gallery trolling night in Chelsea, so it was not surprising last week to find a crowd upstairs at the Max Lang gallery, examining the early works of the interior designer Scott Sanders. Under the proud eye of the curator, Shirley Sanders, the crowd examined drawings like ''Self-Portrait With Rosy Cheeks,'' a crayon on paper, from 1969, which showed a grinning little boy in dark glasses who looked eerily like the 47-year-old Mr. Sanders looks today; ''Colonial Home,'' a ballpoint pen on paper, from 1977; and ''Mega Mansion,'' a marker-pen drawing on paper, from 1975, of a great house set on a hilly landscape. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition featuring the artworks of Nola Zirin at the June Kelly Gallery in New York.

The article reviews a sculpture exhibition by the artist Winifred Lutz at the Zabriskie Gallery in New York City.

The article reviews several exhibitions at the New York area, including "Reflections on the Electric Mirror: New Feminist Video" at the Brooklyn Museum until January 17, 2010, "Slash: Paper Under the Knife" at the Museum of Arts and Design until April 4, 2010, and "William Blake's World: A New Heaven Is Begun" at the Morgan Library and Museum until January 3, 2010.

This article is a review of artist Russell Crotty's exhibition at CRG in New York City. Part artist and part naturalist, Crotty's ink and watercolors on paper, focus on field charts used for scaling boulders.

This article presents a list of museum art exhibits in New York City, New York. "Raphael at the Metropolitan: The Colonna Altarpiece" will be on display at the Metropolitan Museum through August 27, 2006. "Dada," which displays pieces from the anti-art movement, will be on display at the Museum of Modern Art through September 11, 2006. "No Limits, Just Edges: Jackson Pollock Paintings on Paper," will be on display at the Guggenheim Museum through September 29, 2006.

The article reviews several art exhibitions in New York City including "Here Your Are," by artist Maya Bloch, "Electricity Fabric Paint Paper Vinyl," by Daniel Buren, and "The Matriarch's Rhapsody," by Jacolby Satterwhite.

The article previews several art exhibitions which includes "Romare Bearden: The Paper of Truth," and "A Writer's Celebration of Romare Bearden" at the 92 Street Y, community center in New York City on December 3, 2012 and December 9, 2012.

There are so many ways to talk about the cultural differences between the performance and visual art worlds (and curators seem at pains to do so, emphasizing which ''context'' an artist should be seen in, so we poor huddled masses might better direct our gazes). Comparing and contrasting the consumer mores of each world is one of the more enjoyable methods for framing the conversation. Which group tends to be titillated by nudity and which bored, for example, or which will spend lots of time to see something but not lots of money, and vice versa? When the French choreographer Marie Cool cycled through ''Untitled (Prayers) 1996-2007,'' her collaboration with the artist Fabio Balducci during Performa 07, the sizable crowd at the Clocktower Gallery hustled for the best viewing positions, getting as close to the action as possible. Audience members only gradually siphoned off as the repetitive, reductive evening wore on. (The diminutive Ms. Cool does not so much perform as mechanically enact whimsical little tasks: sliding pieces of paper together into peaks on a tabletop or deftly pushing white string into fluid patterns.) [ABSTRACT FROM PUBLISHER]

An exhibition of Haitian painting, sculpture and works on paper -- including Salnave Philippe-Auguste's ''Birds and Flowers,'' a detail of which is shown above -- will be on view at Affirmation Arts at 523 West 37th Street in Manhattan from Oct. 1 to Nov. 24, the gallery said on Tuesday. The exhibition, ''Saving Grace: A Celebration of Haitian Art,'' is being organized by a historian of Haitian art, Gerald Alexis, and will feature works from the Nader Gallery in Port-au-Prince, as well as others being lent by artists and private collectors in Haiti, Canada and the United States. Many of the best-known artists of the Haitian Renaissance, including Hector Hyppolite, Celestin Faustin, Wilson Bigaud and Prefete Duffaut, will be represented. The Nader Gallery survived the earthquake that devastated Haiti in January, but a private museum owned by the same family, and which housed some 12,000 works of art, was destroyed. Two paintings included in the exhibition, Hyppolite's ''Pot de Fleurs'' and Faustin's ''Beau Reve,'' were pulled from the wreckage and restored by art conservators working in a lab set up in Port-au-Prince by the Smithsonian Institution. [ABSTRACT FROM PUBLISHER]

The article reviews an exhibition of Wallpaper Art designs by Richard Kalina at the Lennon, Weinberg Gallery in New York City through August 13, 2010.

Anselm Kiefer, ''Sommer in Barjac -- Die beruhmten Orden der Nacht'' 2010, gouache on photographic paper. Courtesy Gagosian Gallery, New York. Translation of text on the work: ''Summer in Barjac -- the renowned orders of the night.'' [ABSTRACT FROM PUBLISHER]

This show pairs small-scale work, mostly on paper, by two Argentine artists little seen in New York. Each grew up in Buenos Aires during years of civic trauma; each has packed responses to a deadly era into the art. Margarita Paksa graduated from art school in 1955 and participated in the pro-democracy protests that brought down the rule of Juan Peron that year. A core member of the art world vanguard, she experimented, critically, with variations on Minimalism, Conceptual art and performance, and with sexual and topical content that led to police censorship and a brief imprisonment. [ABSTRACT FROM PUBLISHER]

Alexander Calder and Yves Tanguy -- old friends, drinking buddies and Connecticut neighbors -- are together again. Or rather, their art is, in a delightful, immersive exercise in mutual illumination at L&M Arts on the Upper East Side. Surprisingly, this has never happened before. The L&M exhibition, ''Tanguy/Calder: Between Surrealism and Abstraction,'' brings together 46 works from 1934 to 1956. There are 25 sculptures by Calder, including marvelously ethereal, levitating stabiles and mobiles; some of the wood-and-wire constellations; and three uncharacteristic bronze sculptures. Quite a few of these might almost have walked out of one or more of the 19 paintings and works on paper by Tanguy, some of which even include startlingly Calderesque wire structures, and nearly all of which depict oddly shaped, water-worn stones in amalgams that suggest human involvement, albeit long past. Stonehenge for pebble lovers. These formations, in varying densities, occupy vast plains that recede in increasingly atmospheric, horizon-free gradations of land, mist and sky. The colors often have a warm sunset glow -- if not a lurid afterglow. [ABSTRACT FROM PUBLISHER]

Navigating the Metropolitan Museum of Art can be bewildering -- there is so much great stuff to see in every direction that you can feel rudderless. So it helps to have a plan. Here is a good one: Oberlin College's Allen Memorial Art Museum in Ohio, under renovation, has sent 19 of its best paintings and one sculpture to New York, where they are in permanent collection galleries along with the works they relate to at the Met. This may not sound like much on paper, but it makes for a rewarding scavenger hunt. The exhibition, ''Side by Side: Oberlin's Masterworks at the Met,'' was organized by Maryan Ainsworth, curator of European paintings at the Met, and Andria Derstine, curator of European and American art at the Allen, and Stephanie Wiles, the Allen's director. [ABSTRACT FROM PUBLISHER]

Cutting, shredding, slashing and burning are usually processes associated with destruction. But on Saturday the Museum of Arts and Design will show children 5 and older how all that clipping and ripping can also play a role in creation. That's the message of Mad Family Day, which will center on the exhibition ''Slash: Paper Under the Knife.'' While the museum offers children's workshops in its Studio Sunday series (this week the theme is pop-up cards), Saturday will be its first family day since it relocated to Columbus Circle. The idea is: Hey kids, meet the new kid. [ABSTRACT FROM PUBLISHER]

THINK of the artist Paul McCarthy, and it's hard not to imagine him the way he has appeared in countless videos and performances through the years -- stuffing a bunch of mayonnaise-and-ketchup-slathered hot dogs in his mouth, as he did, say, in ''Hot Dog'' (1974), or wearing a clown's nose and muttering maniacally while sloshing paint on canvas (''Painter,'' 1995), or running amok with a gang of elves in a filthy, chocolate-smeared Santa suit (''Santa Chocolate Shop,'' 1996-97). Or else doing other things in projects over the years -- things involving Barbie dolls, sausages, Vaseline and his own and other people's bodily orifices -- that cannot be described here. But during a recent interview at the Hauser & Wirth gallery in New York, the day before the opening of his new show of works on paper there, ''White Snow'' (through Dec. 24), Mr. McCarthy presented a strikingly different persona. [ABSTRACT FROM PUBLISHER]

The hijab, or Muslim head scarf, is supposed to deflect attention. So what should we make of the model wearing a leopard-print version and an eye patch? She's the creation of Princess Hijab, an anonymous Parisian street artist, who adorns women in advertisements with impromptu black-marker ''veils'' and papers public spaces with her own hipsterish ''Hijab Ads.'' The princess is the Shepard Fairey of the French Muslim world or maybe the Naomi Klein. Is she a ''hijabist''? Or even a Muslim? We don't know. But you can see some of her work in ''The Seen and the Hidden: [Dis]covering the Veil,'' at the Austrian Cultural Forum in Midtown Manhattan. The exhibition, which includes artists from Europe and the Middle East as well as American artists of diverse backgrounds, reminds New Yorkers that debates about the veil are heating up in many communities overseas. [ABSTRACT FROM PUBLISHER]

Let's get one thing straight: John Currin can draw, but he's no draftsman. His material attraction to paint -- whether in the glowing flesh of his Cranach-inspired nudes or the crude impasto complexions of more modern subjects -- is undeniable. And life drawing has a limited role in his practice, despite his oft-professed interest in the old masters and his self-consciousness about being a figurative painter. So a certain degree of skepticism may accompany a visit to ''John Currin: Works on Paper -- A Fifteen Year Survey of Women,'' at the Andrea Rosen Gallery. What can these 77 drawings, most from the 1990s, tell us about this much-dissected artist or his way of seeing the world that we don't already know, in richer and more compelling detail, from his paintings? [ABSTRACT FROM PUBLISHER]