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

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.

Reviews the art exhibition 'The Natural Paradise: Painting in America 1800-1950' featuring the works of Jackson Pollock, Clyfford Still, Barnett Newman and Mark Rothko.

The article reviews the traveling sculpture exhibition “Ai Weiwei: According to What?” which will be at the Pérez Art Museum in Miami, Florida from December 4, 2013 to March 16, 2014 and then open at the Brooklyn Museum in New York City on April 18.

The article reviews the exhibition "Inventing Abstraction" with works by Marcel Duchamp at the Museum of Modern Art in New York City as of March 2013, “Fragments 1968-2012,” with works by Giorgio Griffa at the Casey Kaplan Gallery in New York City, and an exhibition of paintings by Thomas Nozkowski at the Pace Gallery in New York City through March 23, 2013.

The article reviews the exhibition "Retro/Active" at El Museo del Barrio museum in New York City (NYC).

The article reviews an exhibition featuring the works of German visual artist Gerhard Richter at the Marian Goodman Gallery in New York City.

This article reviews the museum exhibition "Dan Graham: Beyond" at the Whitney Museum at the Museum of Contemporary Art in Los Angeles, California through October 11, 2009 and at the Walker Art Center in Minneapolis, Minnesota from October 31 through January 31, 2009.

The article presents an evaluation of the works of the artist Kara Walker.

The article reviews an art exhibition, by photographer Jeff Wall, being held at the Museum of Modern Art in New York City during 2007.

The article reviews the exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections," at the Neue Galerie in New York City.

The article interprets the symbol of death in the creations of Damein Hirst, the celebrated hooligan genius of British Art. Hirst uses death as a way of expressing thoughts about death. His most celebrated work, according to a press release, has never shied away from the terrible beauty that lies in death and the inevitable decay contained in beauty. The theme of death, at least as expressed through animals and animal parts, is muted in "Theories, Models, Methods, Approaches, Assumptions, Results, and Find," as Hirst has titled the Gagosian show.

The article presents the author's comments on the painting by Joan Mitchell, which is on view at the Museum of Modern Art in the exhibition "American Art: 1940-1970." Mitchell was one of the strongest painters in the second generation of abstract expressionists, and she painted "Ladybug," as it is titled, in 1957, the year after abstract painter Jackson Pollock was killed. The author says that the internal drama of Mitchell's painting derives from the way she uses paint's propensity to drip to her own advantage by taming it with over-strokes of pigment through which she displays her own discipline and power.

Highlights the exhibition 'Artists' Books and Notations,' in New York City. Definition of the tendencies in art; Verbal accounts of the motives and intentions of art; Demonstration of the imagery of cultures.

This article presents the author's brief account of his visit to the exhibition of Robert Mapplethorpe's photographs at the Institute of Contemporary Art in Boston. The controversy that has dogged the show since its organization by the Institute of Contemporary Art in Philadelphia certainly made itself felt in the huge numbers of visitors and in the aura of decorous excitement that enveloped those who managed to get in. Most of the pictures, however, were unexciting. With the exception of a handful of striking images from the artist's last years, there were celebrity portraits shot in 1940s fashion style, arty flowers, naked black men in a venerable art-nude tradition.

The work of Tim Rollins and K.O.S.--a name initially as mystifying as that of many rock groups--came from the striking cover of the periodical "Artforum," for May 1988. The image on the cover was of work very little like anything, the author was aware existed in the art world of that moment; and indeed, it was unclear from the image alone whether it was contemporary at all, since it was composed of what appeared to be trumpets, keys and crosses, all in gold against a whitish background, and looked, at first glance, as if it might be a marvelous illumination. There were twelve columns of such pages, each column eight pages high, and one might have computed the size of the trumpets and other forms from this, and even have inferred, from this curious use of printed pages, that the work must be fairly recent. The exuberant yet elegant work of Tim Rollins and K.O.S. asks its audience to go beyond questions of formalist eloquence to arrive at a larger definition of what constitutes effective activist art-making. May 1988 was an important issue to the editors of "Artforum," for it marked the twentieth anniversary of the student uprisings in Europe and the United States in which many of them had participated.

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.

The article focuses on recent developments in the field of art. Sudden glory is made objective and palpable in the assembled work of Red Grooms, and it is this quality to which one immediately responds as the elevator opens onto the fourth floor of the Whitney Museum of American Art, given over entirely to this artist's singular clownerie. The art of the clown differs from that of the caricaturist, in that the latter seizes on certain defects, and uses them in order to lower the subject through ridicule.

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.

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.

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 reviews the art exhibitions "Degas' Method" at the Ny Carlsberg Glyptotek gallery in Copenhagen, Denmark of artist Edgar Degas curated by Line Clausen Pedersen through September 1, 2013, and an exhibit of Welsh painter Merlin James at Parasol unit in London, England through August 10.

The article reviews the 2013 exhibition "Blues for Smoke" at the Whitney Museum of American Art in New York City, which featured works including the installation "Chasing the Blue Train" by David Hammons, the sculpture "Martin, Into the Corner, You Should Be Ashamed of Yourself" by Martin Kippenberger, and the painting "Late Night Reflections" by Alma Thomas.

The article reviews the art exhibition "Infinite Jest: Caricature and Satire From Leonardo to Levine" at the Metropolitan Museum of Art in New York City in 2012.

Reviews an exhibition of the work of Robert Smithson at the Whitney Museum of American Art.

The article reviews an exhibition of paintings by the abstract expressionist Joan Mitchell at the Whitney Museum of American Art in New York City until September 29, 2002.

Features several art exhibitions in the United States. Jackie Ferrara's sculptures at the Max Protetch Gallery; Sculpture of Donna Byars at the Museum of Modern Art; Margaret Grace's paintings at the Bowery Gallery.

Focuses on an exhibition of the paintings of Julian Schnabel at the Pace Gallery in New York City, which will be held through December 1984. Theme of the exhibition; Details surrounding the works featured in the exhibition; Look into the predominant artistic style which can be seen throughout the exhibition.

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 first American painter to have an impact on Japanese artists after the end of the war was Jackson Pollock, two of whose paintings were shown at an exhibition in Tokyo, Japan. It was Pollock, rather than any of the European painters to be seen in the Yomiuri exhibition of 1951, who seemed to the abstract painter Yoshihara Jiro to have pushed back the limits of painting in two ways: by thematizing the materiality of paint, through the use of pouring, dripping and splattering; and by incorporating the bodily gesture, the act of painting, into the product of painting. Through Yoshihara Jiro, Pollock's work became the paradigm for a group called the Gutai Art Association in Osaka, Japan. An exhibition of Gutai artists' work at the Martha Jackson Gallery in New York in 1958 was advertised as "Japanese Abstract Expressionism," and, to the degree that the show was noticed at all, it would almost certainly have been dismissed as a form of imitation, which in any case was one of the stereotypes of Japan in the American mind at the time.

Highlights the art exhibition 'The Architecture of the Ecole des Beuax-Arts,' at the Museum of Modern Art in New York. Overview of the 19th-century French school Ecole; Beaux-Arts in the U.S.; Presentation of the exhibition in Paris, France.

Highlights the art exhibition 'Zeitgeist' in Germany. Entrepreneurs of Zeitgeist; Exhibitors and artists; Art works featured in the exhibition; Meaning conveyed at Zeitgeist.

Focuses on Edward Hopper's American art exhibition at the Whitney Museum in New York. Representational art; Comparison of Hopper's work with contemporary painters; Themes of Hopper's work.

Focuses on the art exhibition "Two Centuries of Black American Art," held at Brooklyn Museum at Brooklyn, New York as of June 1977. Comparison of the exhibition with the exhibition "Women Artists 1550-1950, " due at Brooklyn in this year's fall season; Artists whose works have been included in the exhibition; Text written to describe the theme of the exhibition by David C. Driskell, curator of the exhibition.