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

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

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.

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

The article reviews the art exhibition by Greg Mencoff at Bernard Toale Gallery in New York.

The article reviews the art exhibition "Nocturne," by Roland Flexner at Caren Golden Gallery in New York.

The article reviews the art exhibition "Erased de Kooning Drawings," by Mike Bidlo at Francis M. Naumann Fine Art in New York.

Modernism, in art as in sexuality, was the patriotism of a fragile band of aesthetic expatriates in the America of the 1920's, centered, in New York, around Stieglitz's gallery and, in Philadelphia, around the Arensbergs, in whose collection "Princesse X," in one of its versions, it is to be found, and at the Barnes Foundation, which contains several of Demuth's paintings. An exhibition will be housed at the Los Angeles County Museum of Art from February 25 to April 24; at the Columbus Museum of Art, Columbus, Ohio, from May 8 until July 10; and at the San Francisco Museum of Modern Art from August 7 until October 2.

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.

There is a curious drawing by Francesco Guardi in the exhibition "Around Tiepolo: Eighteenth-Century Venetian Drawings at the Pierpont Morgan Library. Guardi has filled a piazza in Venice, Italy with his characteristic squiggly figures, wearing cloaks and tricorn hats, which the artist like a film director, uses as witnesses to whatever events he records. The event here is given in the title "Ascent of a Balloon in Venice, and the wall text gives the exact date of ascension, April 15, 1784, as well as the balloonist's name and that of his backer.

The article presents information about the fortieth annual exhibition of the National Academy of Design. It is plain that people have been able to learn something from the exhibition of the present state of American art, its achievements and its needs. The exhibition of this year has been more useful than any of those, which have preceded it. This singular usefulness has not been due largely to the greater merit of the works of art composing it. But this year the collection has attracted an unusual amount of attention, and has created an unusual amount of thought on subjects connected with art.

The spring and summer exhibitions in London, England have been as unprofitable as any. They equal or surpass the Academy in dullness, though they include those of the New English Art Club, the International Society, and the Allied Artists' Association, the three societies supposed to stand for all that is youngest, gayest, and most alive in art. The exhibition is a vivid impression of a crowd in the open air, full of movement and color, and far more accurate than the Englishman's painting as a record of character and costume and date. Of course this is no new discovery, but it is one useful to make anew at this moment when contemporary artists in England offer little at all to think about.

The article reviews several exhibitions in Great Britain on view until 2008 including "Emile Gallé and the Origins of Art Nouveau," at the Bowes Museum in Barnard Castle, Northern England until January 20, "Joseph Wright of Derby in Liverpool," at the Walker Art Gallery until February 24 and "Theatres of Life: Drawings from the Rothschild Collection," at the Wallace Collection until January 27.

The article reviews the art exhibition by Herman Cherry at David Findlay Jr. Gallery in New York.

The article reviews the art exhibition by Jonathan Santlofer at Pavel Zoubok in New York.

The article reviews several art exhibitions in New York including "CAKE" at 3rd Rail Studio, "Encaustic Works 2009" at the Castle Gallery, and "Abroad Understanding" at the Hudson Valley Center for Contemporary Art.

Has any artist captured human misery with more shocking clarity than Boris Sveshnikov? None that I can think of. His Vetlosian series of drawings, ink on yellowed paper, humble things really, are brutally simple: They bring us face to face with the horrors of life in a Stalinist labor camp in the 1950s. Sveshnikov (1927-1998) is the subject of an unsettling two-part retrospective at the Jane Voorhees Zimmerli Art Museum. The show's title is ominous and to the point: ''Painting for the Grave: The Early Work of Boris Sveshnikov.'' It comes from a quote from the artist, who once remarked cryptically to an interviewer that his works were ''dedicated to the grave.'' [ABSTRACT FROM PUBLISHER]

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

This article presents a review of the art exhibition "Robert Rauschenberg: Cardboards and Related Pieces," at the Menil Collection in Houston, Texas, from February 23, 2007 to May 13, 2007.

The article reviews the art exhibition "Final States," by Lordy Rodriguez at Clementine Gallery in New York.

Reviews the art exhibition of Betty Tompkins which features her salacious acrylics on canvass and pencil-on-paper drawings at Mitchell Algus museum.

Reviews the show of paintings by Piet Mondrian at the Museum of Modern Art. Characteristics of the paintings by Mondrian; Description of Mondrian's unfinished painting titled "Victory Boogie Woogie"; View that every point in Mondrian's best paintings projects a particular kind of deeply moving, very human sensation; Information that he was the only one of his family who remained a painter because he was willing to give up everything to it.

The article evaluates the paintings by Morris Graves at Chicago's firewater-Hardin gallery. It is found that once again a reasonable reaction is compounded of enchantment with that line and irritation at the Chu Chin Chow approach his work calls forth in his admirers. But even if he sets it up himself, an artist cannot be held responsible for the public legend that grows like barnacles on certain artists' work. Graves' legend is Zen, of which he seems to be a devout adherent. If, this doesn't make his work better or more significant, it doesn't either make it worse and any less worthy of our attention.

This article reviews an exhibition of artist Joseph Marioni at the Peter Blum Chelsea gallery. His work features a series of large, acrylic on linen pieces that emphasize the color and layering of paint.

The article reviews the art exhibition entitled "The Garden Party" featuring the works of various artists at Deitch Projects in New York.

The article reviews the art exhibition entitled "I Love My Scene" featuring the works of various artists at Mary Boone in New York.

The article reviews the art exhibition by Jaye Moon at Newman Popiashvili Gallery in New York.

The article reviews the exhibition of scrolls and paintings by Gary Kuehn at Esso Gallery in New York.

Reviews the art exhibit of the Thai artist Rirkrit Tiravanija which features his work "Untitled 2005" at Guggenheim Museum.

The article focuses on the works of artist Simon Denny.

Reviews the art exhibit "The Grey Cloth" which features the work of the artist Ian Kiaer at Tanya Bonakdar Museum.