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It is hard to define sculpture these days. Artists continue to make three-dimensional objects, but the range and variety of materials they employ defy classification. This is enchantingly evident in a show by the Armenian artist Karen Sargsyan at the Hudson Valley Center for Contemporary Art. Mr. Sargsyan, 36, makes figurative sculptures from cut paper. The works in the current show were created during his stay in Peekskill last fall as the center's artist in residence. Depending on how you look at it, the exhibition consists of either hundreds of individual cut paper sculptures arranged across the mezzanine gallery or a single installation made up of many parts. [ABSTRACT FROM PUBLISHER]

Is paper passe? Your answer will most likely depend on whether you're reading this sentence on newsprint or on a screen. But it's safe to say that artists and designers aren't ready to quit the stuff, at least by the measure of the latest show at the Museum of Arts and Design. They are, however, willing to pierce, shred, carve and slice it. ''Slash: Paper Under the Knife,'' the third show in the museum's Materials and Process series, explores the sometimes violent, always intricate art of paper cutting. (It follows ''Radical Lace and Subversive Knitting'' and ''Pricked: Extreme Embroidery'' in 2007 and 2008.) [ABSTRACT FROM PUBLISHER]

Reviews the art exhibition 'Works on Paper,' at the Seventh Regiment Armory in New York City.

Steven Harvey Fine Art Projects 24 East 73rd Street, Second Floor, Manhattan [ABSTRACT FROM PUBLISHER]

The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major ''isms.'' She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard. Then in 1977 -- just shy of her 41st birthday -- Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980. [ABSTRACT FROM PUBLISHER]

Reviews the art exhibition 'The Changing of the Avant-Garde: Visionary Architectural Drawings From the Howard Gilman Collection,' on view at the Museum of Modern Art in New York City through January 6, 2002.

The artist and poet Douglas Florian is best known for writing and illustrating award-winning children's books that are wittily educational, especially about animals. Working in gouache with collage, he depicts just about anything with an impressive combination of accuracy and improvisation and is similarly free with language. Mr. Florian, who always works on paper bags, has shown in art galleries since 1985, presenting work that is generally more abstract if no less playful than his illustrations. Here his excellent eye for color shines, and an organic multiculturalism is given full expression. Tantra, Elizabeth Murray, maps, free-range calligraphy, Marimekko handmade wrapping paper and Gerhard Richter all come to mind in this show of 33 small paintings, most done this year. [ABSTRACT FROM PUBLISHER]

THURSDAY night is gallery trolling night in Chelsea, so it was not surprising last week to find a crowd upstairs at the Max Lang gallery, examining the early works of the interior designer Scott Sanders. Under the proud eye of the curator, Shirley Sanders, the crowd examined drawings like ''Self-Portrait With Rosy Cheeks,'' a crayon on paper, from 1969, which showed a grinning little boy in dark glasses who looked eerily like the 47-year-old Mr. Sanders looks today; ''Colonial Home,'' a ballpoint pen on paper, from 1977; and ''Mega Mansion,'' a marker-pen drawing on paper, from 1975, of a great house set on a hilly landscape. [ABSTRACT FROM PUBLISHER]

The article reviews several art exhibitions in New York City including "Here Your Are," by artist Maya Bloch, "Electricity Fabric Paint Paper Vinyl," by Daniel Buren, and "The Matriarch's Rhapsody," by Jacolby Satterwhite.

There are so many ways to talk about the cultural differences between the performance and visual art worlds (and curators seem at pains to do so, emphasizing which ''context'' an artist should be seen in, so we poor huddled masses might better direct our gazes). Comparing and contrasting the consumer mores of each world is one of the more enjoyable methods for framing the conversation. Which group tends to be titillated by nudity and which bored, for example, or which will spend lots of time to see something but not lots of money, and vice versa? When the French choreographer Marie Cool cycled through ''Untitled (Prayers) 1996-2007,'' her collaboration with the artist Fabio Balducci during Performa 07, the sizable crowd at the Clocktower Gallery hustled for the best viewing positions, getting as close to the action as possible. Audience members only gradually siphoned off as the repetitive, reductive evening wore on. (The diminutive Ms. Cool does not so much perform as mechanically enact whimsical little tasks: sliding pieces of paper together into peaks on a tabletop or deftly pushing white string into fluid patterns.) [ABSTRACT FROM PUBLISHER]

An exhibition of Haitian painting, sculpture and works on paper -- including Salnave Philippe-Auguste's ''Birds and Flowers,'' a detail of which is shown above -- will be on view at Affirmation Arts at 523 West 37th Street in Manhattan from Oct. 1 to Nov. 24, the gallery said on Tuesday. The exhibition, ''Saving Grace: A Celebration of Haitian Art,'' is being organized by a historian of Haitian art, Gerald Alexis, and will feature works from the Nader Gallery in Port-au-Prince, as well as others being lent by artists and private collectors in Haiti, Canada and the United States. Many of the best-known artists of the Haitian Renaissance, including Hector Hyppolite, Celestin Faustin, Wilson Bigaud and Prefete Duffaut, will be represented. The Nader Gallery survived the earthquake that devastated Haiti in January, but a private museum owned by the same family, and which housed some 12,000 works of art, was destroyed. Two paintings included in the exhibition, Hyppolite's ''Pot de Fleurs'' and Faustin's ''Beau Reve,'' were pulled from the wreckage and restored by art conservators working in a lab set up in Port-au-Prince by the Smithsonian Institution. [ABSTRACT FROM PUBLISHER]

Anselm Kiefer, ''Sommer in Barjac -- Die beruhmten Orden der Nacht'' 2010, gouache on photographic paper. Courtesy Gagosian Gallery, New York. Translation of text on the work: ''Summer in Barjac -- the renowned orders of the night.'' [ABSTRACT FROM PUBLISHER]

This show pairs small-scale work, mostly on paper, by two Argentine artists little seen in New York. Each grew up in Buenos Aires during years of civic trauma; each has packed responses to a deadly era into the art. Margarita Paksa graduated from art school in 1955 and participated in the pro-democracy protests that brought down the rule of Juan Peron that year. A core member of the art world vanguard, she experimented, critically, with variations on Minimalism, Conceptual art and performance, and with sexual and topical content that led to police censorship and a brief imprisonment. [ABSTRACT FROM PUBLISHER]

Alexander Calder and Yves Tanguy -- old friends, drinking buddies and Connecticut neighbors -- are together again. Or rather, their art is, in a delightful, immersive exercise in mutual illumination at L&M Arts on the Upper East Side. Surprisingly, this has never happened before. The L&M exhibition, ''Tanguy/Calder: Between Surrealism and Abstraction,'' brings together 46 works from 1934 to 1956. There are 25 sculptures by Calder, including marvelously ethereal, levitating stabiles and mobiles; some of the wood-and-wire constellations; and three uncharacteristic bronze sculptures. Quite a few of these might almost have walked out of one or more of the 19 paintings and works on paper by Tanguy, some of which even include startlingly Calderesque wire structures, and nearly all of which depict oddly shaped, water-worn stones in amalgams that suggest human involvement, albeit long past. Stonehenge for pebble lovers. These formations, in varying densities, occupy vast plains that recede in increasingly atmospheric, horizon-free gradations of land, mist and sky. The colors often have a warm sunset glow -- if not a lurid afterglow. [ABSTRACT FROM PUBLISHER]

Navigating the Metropolitan Museum of Art can be bewildering -- there is so much great stuff to see in every direction that you can feel rudderless. So it helps to have a plan. Here is a good one: Oberlin College's Allen Memorial Art Museum in Ohio, under renovation, has sent 19 of its best paintings and one sculpture to New York, where they are in permanent collection galleries along with the works they relate to at the Met. This may not sound like much on paper, but it makes for a rewarding scavenger hunt. The exhibition, ''Side by Side: Oberlin's Masterworks at the Met,'' was organized by Maryan Ainsworth, curator of European paintings at the Met, and Andria Derstine, curator of European and American art at the Allen, and Stephanie Wiles, the Allen's director. [ABSTRACT FROM PUBLISHER]

Cutting, shredding, slashing and burning are usually processes associated with destruction. But on Saturday the Museum of Arts and Design will show children 5 and older how all that clipping and ripping can also play a role in creation. That's the message of Mad Family Day, which will center on the exhibition ''Slash: Paper Under the Knife.'' While the museum offers children's workshops in its Studio Sunday series (this week the theme is pop-up cards), Saturday will be its first family day since it relocated to Columbus Circle. The idea is: Hey kids, meet the new kid. [ABSTRACT FROM PUBLISHER]

THINK of the artist Paul McCarthy, and it's hard not to imagine him the way he has appeared in countless videos and performances through the years -- stuffing a bunch of mayonnaise-and-ketchup-slathered hot dogs in his mouth, as he did, say, in ''Hot Dog'' (1974), or wearing a clown's nose and muttering maniacally while sloshing paint on canvas (''Painter,'' 1995), or running amok with a gang of elves in a filthy, chocolate-smeared Santa suit (''Santa Chocolate Shop,'' 1996-97). Or else doing other things in projects over the years -- things involving Barbie dolls, sausages, Vaseline and his own and other people's bodily orifices -- that cannot be described here. But during a recent interview at the Hauser & Wirth gallery in New York, the day before the opening of his new show of works on paper there, ''White Snow'' (through Dec. 24), Mr. McCarthy presented a strikingly different persona. [ABSTRACT FROM PUBLISHER]

The hijab, or Muslim head scarf, is supposed to deflect attention. So what should we make of the model wearing a leopard-print version and an eye patch? She's the creation of Princess Hijab, an anonymous Parisian street artist, who adorns women in advertisements with impromptu black-marker ''veils'' and papers public spaces with her own hipsterish ''Hijab Ads.'' The princess is the Shepard Fairey of the French Muslim world or maybe the Naomi Klein. Is she a ''hijabist''? Or even a Muslim? We don't know. But you can see some of her work in ''The Seen and the Hidden: [Dis]covering the Veil,'' at the Austrian Cultural Forum in Midtown Manhattan. The exhibition, which includes artists from Europe and the Middle East as well as American artists of diverse backgrounds, reminds New Yorkers that debates about the veil are heating up in many communities overseas. [ABSTRACT FROM PUBLISHER]

Let's get one thing straight: John Currin can draw, but he's no draftsman. His material attraction to paint -- whether in the glowing flesh of his Cranach-inspired nudes or the crude impasto complexions of more modern subjects -- is undeniable. And life drawing has a limited role in his practice, despite his oft-professed interest in the old masters and his self-consciousness about being a figurative painter. So a certain degree of skepticism may accompany a visit to ''John Currin: Works on Paper -- A Fifteen Year Survey of Women,'' at the Andrea Rosen Gallery. What can these 77 drawings, most from the 1990s, tell us about this much-dissected artist or his way of seeing the world that we don't already know, in richer and more compelling detail, from his paintings? [ABSTRACT FROM PUBLISHER]

''Beyond the Canon: Small Scale American Abstraction, 1945-1965'' has a portentous, this-will-change-everything title. The show itself, at the Robert Miller Gallery in Chelsea through Saturday, is a big grab bag. Capricious, uneven and at times overly homogenous, it mixes together unknown gems, golden oldies and undistinguished work. But while it may ultimately reinforce as much as shake up the canon it takes to task, its relatively unfiltered view of art history is a wonderful thing to sort through. The spacious Miller gallery is lined with a thoughtfully installed parade of more than 90 small paintings, paintings on paper and drawings by nearly 70 artists whose reputations run the gamut from unknown to world famous. Most of the works were made in New York in the late 1940s and '50s. But a handful of them fall outside the show's 1945-to-1965 time slot, confusingly broadening its span to 1930-78. [ABSTRACT FROM PUBLISHER]

LUIS CAMNITZER This pioneering Conceptual artist, who exhibits infrequently in New York City, has something new and something old in this concise solo. The new piece, ''Last Words,'' right, is a series of six large posterlike sheets of paper with a stream of printed text made up of hundreds of short, direct-address sentences: ''Tell Mom I love her. I love you all. Goodbye to my family. Don't forget me. I love all of you.'' And so on. The valedictory words suggest dire situations: I thought of cellphone calls made from the World Trade Center on 9/11. In fact all the phrases are from final statements made by death row prisoners, which Mr. Camnitzer found on the official Web site of the Texas Department of Criminal Justice. The sentiments subtly change in tone as the series progresses, shifting from loving farewells to giving thanks to helpful friends, including lawyers, to verbal displays of bravura. The final sentences in the piece are: ''I am ready. Tell the guys on Death Row that I'm not wearing a diaper. I can't think of anything else.'' [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Wallpaper LAB," in Chelsea, New York City, which will run through October 14, 2006.

The article reviews the art exhibition "Early Cups and Related Works on Paper," by Ken Price at the Franklin Parrasch Gallery in New York City through June 10, 2006.

Reviews two art exhibitions in New York City in 2000. `Bridget Riley: Reconnaissance' at Dia Center for the Arts; `Bridget Riley: Paintings 1982-2000 and Early Works on Paper' at PaceWildenstein.

Reviews the art exhibition `Works on Paper,' at Seventh Regiment Armory in New York City, New York through March 5, 2000.

Reviews the `Works on Paper,' an art exhibition which was held in New York, New York.

Reviews the exhibition `Recent Work: Marble, Bronze, Plaster and Paper,' by Manuel Neri, at the Charles Cowles Gallery in New York City, through January 9, 1999.

Reviews the exhibition `Paper + Finland = Art,' at the American Craft Museum, New York from March to May 10, 1998.