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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.

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]

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.

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