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The article reviews the exhibition "Idea as Art" at the Boise Art Museum in Boise, Idaho that will run through April 2010.

The article reviews the exhibition "O'Keeffe on Paper" at the National Gallery of Art in Washington, D.C. on July 9, 2000 and at the Georgia O'Keeffe Museum in Sante Fe, New Mexico from July 29, 2000 to October 29, 2000.

Reviews the exhibition `Kitsch to Corbusier: Wallpapers From the 1950's,' that presents designs of various types of wallpapers. Brief on some of the designs.

The article reviews the exhibition "Print, Paper, Paint," at Chiaroscuro in Scottsdale, Arizona.

Reviews the exhibition "Cy Twombly: 50 Years of Works on Paper," at the Whitney Museum of American Art through May 8, 2005.

The article reviews the exhibition "Masters of American Comics," at the Newark Museum in Washington D.C. from September 15, 2006-January 28, 2007.

The article reviews the annual Hazelhurst Art Award exhibition at Hazelhurst Regional Gallery and Arts Centre in Sydney, New South Wales.

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

The article reviews the exhibition "Paper Shredders" at the Dolphin art gallery in Kansas City, Missouri from February 13 to March 21, 2009.

The article reviews the exhibition "Zarina: Paper Like Skin" at Guggenheim Museum in New York.

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 book 'National Portrait Gallery in Colour,' edited by Richard Ormond.

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.

The article reviews the exhibition "As I Only Can ... Belong" at the Metropolitan in St. Louis, Missouri in 2009.

The article previews the Islamic art exhibition "In Harmony: The Norma Jean Calderwood Collection of Islamic Art" at the Harvard Art Museums in Cambridge, Massachusetts from January 31, 2013 to June 1, 2013.

Reviews the exhibition of Bruce Helander at Don O'Melveny museum in Los Angeles, California.

Reviews the exhibition of We Mills as Richard Levy in Albuquerque, New Hampshire.

Reviews the exhibition of Jane South at the Spencer Brownstone gallery in New York.

Reviews the exhibition of Lynda Benglis at the Cheim & Read in New York City.

The article reviews the art exhibition "Vincent van Gogh: The Drawings," at the Metropolitan Museum of Art in New York.

The article focuses on the exhibition on art. The statistics of the Eighth International attendance became increasingly eloquent. It grew to be the best picture mart in Europe, just as the old exhibitions ceased to sell. Where many committees from many nations select the exhibitions, where warring factions practice their pet theories of hanging and decoration side by side, there can at least be no monotony. The long series of international galleries was becoming oppressive; even more so the "regional halls" where the Italian artists were exhibited side by side for no better reason than that they were inscribed in the same tax lists.

Reviews the exhibition of Jorge Pardo at the Friedrich Petzel gallery in New York.

The article reviews the exhibition "History from Coins" at the Wisbech & Fenland Museum in Great Britain on January 14, 1995.

The article reviews the exhibition "Chinese Flower Paintings" at the Smithsonian Institution's Freer Gallery in Washington, D.C. from March 18 through August 31, 1983.

The article discusses performing arts. The recent exhibition of pure water colors and of drawings current at the art museum reveals two very successful transplantations: those of a young artist and an artistic movement. The successfully transplanted young artist is Georges Schreiber, the well-known contributor to New York periodicals and news- papers. The successfully transplanted artistic movement is the New Objectivism of such leading German moderns as Otto Dix and George Grosz. In the general spirit of the movement, Schreiber has taken as his subject life in the raw.

This article presents information on several arts exhibition being held in New York City. The exhibition titled "Twenty-Five Important Acquisitions," is being held at the Primitives Gallery of Harry Stone, 555 Madison Avenue, until March 20, 1943. Most of the twenty-five acquisitions are charming. There is something here to please everyone, the collector, the lover of good painting, or the detective who wishes to trace the artist, the time, or the place. The exhibition of Monotypes by Demetrio Urruchua and Exhibition of Paintings by Luis Herrerra Guevara is being held at Durlacher Brothers, East Fifty-seventh Street, until March 20. Two South American painters Urruchua paints in monotype, a process whereby the paint is applied in reverse to a stone or glass slab, and the slab then run through a press for imprinting on a slightly absorbent paper. This process, is popular in Argentina.

The article focuses on the collage exhibition at the Museum of Modern Art that amounts to a scandal. Like most of the scandals involving modern art, it has passed largely unnoticed so far, which must be attributed to art public's low state of enlightenment. The collage medium has played a pivotal role in twentieth-century painting and sculpture and it is the most succinct and direct single clue to the aesthetic of genuinely modern art. Collage contributed greatly to the geometrical simplification of shapes that cubism undertook after 1912 and anticipated the transition to its synthetic phase.

The article reviews the book "Flora: The Erbario Miniato and Other Drawings," by Lucia Tongiorgi Tomasi and Fabio Garbari.

The article reviews the art exhibition "Cyclical Redundance," by Daniel Zeller at Pierogi Gallery in New York.

Reviews the exhibition of Kerry Tribe at the Los Angeles Contemporary Editions in Los Angeles, California.

Reviews the exhibition of Howardena Pindell gallery in New York.

Reviews the exhibition "The Complete Marbles" at Mary Boone gallery in New York.

A review of the book "Heartbreak for Hire: A Novel," by Sonia Hartl, is presented.

The article reviews several exhibitions including "Sculpture Link" at the North Sea coast until August 15, 2010, "Workshopping: An American Model of Architectural Practice," at the High Museum of Art in from August 29, 2010 to November 21, 2010 and "Chartlotte Perriend," at the Museum für Gestaltung Zurich in October 24, 2010.

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 several exhibitions including "Muraqqa': Imperial Mughal Albums from the Chester Beatty Library Dublin," at Arthur M. Sackler Gallery from May 3-August 3, 2008, "Into the Woods: Crafting Early American Furniture," at the Historic Deerfield in Massachusetts on May 4, 2008 and "Art Collections and Botanical Gardens," at the Huntington Library in California on May 28, 2008.

The article reviews the exhibition "Tobias Putrih: Quasi-Random," by Tobias Putrih at the Neuberger Museum of Art in Westchester County, New York.

The article reviews several exhibitions including "Rococo Exotic: French Mounted Porcelains and the Allure of the East," at the Frick Collection in New York City through June 10, 2007, "The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle," at the Fogg Art Museums in Cambridge, Massachusetts from April 7 to July 8, 2007, and the "Acquired Tastes: 200 Years of Collecting for the Boston Athenaeum," at the Athenaeum in Boston, Massachusetts through July 12, 2007.

Reviews the exhibition "Cy Twombly: 50 Years of Works on Paper," at the Whitney Museum of American Art in New York City on May 27 to September 4, 2005.