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Reviews the exhibition, `Six Centuries/Six Artists,' which will be displayed from February 2, 1996 the National Gallery of Art in Washington D.C.

Reviews the art exhibition "Paper," of artist Nicole Klagsbrun in New York City.

Reviews several art exhibitions. "The Age of Watteau, Chardin, and Fragonard: Masterpieces of French Genre Painting," held at the National Gallery of Canada in Ottawa from June through September 2003; "Colorful Impressions: The Printmaking Revolution in Eighteenth-Century France," held at the National Gallery of Art in Washington D.C. from October 2003 through February 2004; "The Drawings of François Boucher," at the Frick Collection in New York City from October through December 2003.

Zwirner's husband-and-wife show of the Swedish artists Mamma Andersson and Jockum Nordstrom works, as many marriages do, because each person has plenty of space. The exhibition takes the form of his-and-hers solos, joined by a hallway of collaborative works on paper. It also helps that the artists share some things -- a folksy, intuitive style and a rustic, earth-toned palette -- without sharing everything. Mr. Nordstrom cherry-picks figures and settings from Cranach, Ensor and obscure Scandinavian artists, while Ms. Andersson cultivates the decorous domesticity of Vuillard and the Nabis. [ABSTRACT FROM PUBLISHER]

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]

Reviews the painting exhibition 'The Responsive Eye,' by Bridget Riley.