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Reviews the painting exhibition featuring the works of European painter Jean-Baptiste-Camille Corot at the Metropolitan Museum of Art in New York City ending on January 19, 1997.

Gottlob Frege, the father of modern logic, once proposed that a word has meaning only in the context of a sentence. It is reckless, perhaps, to press as an analogy to this deep thought that a work of art has meaning only in the context of an exhibition. Everyone will allow that the circumstances of display often vest a work with qualities it does not possess in its own right: when a museum exhibits a painting in a room by itself, with velvet barrier and guards, something is being said about rarity, importance and value that the painting scarcely could say about itself. According to the author of this article, each critical or art-historical article implies an exhibition in what art historian Andre Malraux has termed the imaginary museum. To understand a painting, then, is to know what other works it would go with to form a coherent show.

Reviews several art exhibitions. "CVJ: Nicknames of Maitre D's & and Other Excerpts From Life," at the Random House; "Julian Schnabel: Paintings 1975-1987," at Whitechapel Art Gallery; "Julian Schnabel," at the Whitney Museum of American Art.

In the catalogue for the posthumous exhibition of the work of artist Liubov Popova held in the Soviet Union in 1924, six months after she died of scarlet fever at the age of 35, the artist is cited thus: "No artistic success has given me as much satisfaction as the sight of a peasant or a worker buying a length of material designed by me." The syntax of the exhibition of Popova's work on view at the Museum of Modern Art in New York until April 23 must be very like that of the Soviet show of 1924. According to the author, the catalogue he began by quoting goes on to say that in the very spring in which she died, "all Moscow, Russia was wearing fabric with designs by Popova without knowing it, vivid, strong drawings, full of movement, like the artist's own nature." According to the author, her paintings all look like pictures of movement that merely aspire to vividness and strength.

The article reviews several exhibitions including "Fiber Art: Following the Tread" from Sue Pierce in New York Research Center in 2002, the Philbrook's 1987 "The Eloquent Object" curated by Marcia and Tom Manhart, and the papers of Felrath Hines, the painting conservator and painter.

Reviews the exhibition "Tim Gardner" at the 303 Gallery in New York City from April 15 to May 28, 2005.

Reviews several art exhibitions in New York City. "Matisse: The Fabric of Dreams, His Art and His Textiles" at the Metropolitan Museum through September 25, 2005; "Pioneering Modern Painting: Cézanne and Pissaro, 1865-1885" at the Museum of Modern Art through September 12, 2005; "Robert Smithson" at the Whitney Museum of American Art through October 23, 2005.

The article reviews the exhibition "The Rhythm of Modern Life 1911-1924" which focuses on the paintings of Fernand éger at the Kunstmuseum Basel.