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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]

The article reviews the exhibition "Zarina: Paper Like Skin," by Zarina Hashmi at the Guggenheim Museum in New York City until April 21, 2013.

The article previews the exhibition "Works on Paper 1976-1977" at David Zwirner's Chelsea gallery in New York City through June 29, 2013, which will feature works on paper made by German abstract artist Blinky Palermo.

The article reviews the exhibition "Electricity Paper Vinyl..." at the Petzel Gallery in New York City, through February 16, 2013.

The article reviews the exhibitions "Anthony McCall Works on Paper" at the Sprüth Magers gallery in London, England and "Anthony McCall Vertical Works" at the Ambika P3 gallery in London, England in 2011.

Reviews the exhibition `Kitsch to Corbusier: Wallpapers From the 1950's,' that presents designs of various types of wallpapers. Brief on some of the designs.

The article discusses an exhibition entitled "The Unknown Monet: Pastels and Drawings" by artist Claude Monet, opening at the Royal Academy of Arts in London on March 17, 2007 and due to arrive June 24, 2007 at The Francine Clark Art Institute in Williamstown, Massachusetts. The exhibit was assembled by Clark curators Richard Kendall and James A. Ganz.

The article reviews the exhibition "Masters of American Comics," at the Newark Museum in Washington D.C. from September 15, 2006-January 28, 2007.

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

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 art exhibition of Lyonel Feininger at the Achim Moeller Fine Art in Manhattan, New York.

Reviews the art exhibition "Works on Paper From the 70's, 80's and 90's," by Norman Bluhm at the James Graham & Sons in Madison Avenue, New York City.

Reviews several exhibitions featuring the art works of Ellsworth Kelly. `Ellsworth Kelly: The Early Drawings, 1948-1955,' at the Arthur M. Sackler Museum, Cambridge, Massachusetts; `Line Form Color,' at the Fogg Art Museum, Cambridge, Massachusetts; `Ellsworth Kelly: Drawings 1960-1962,' at Matthew Marks Gallery, New York, New York.

Reviews the African art exhibition 'ExitCongoMuseum: A Century of Art With/Without Papers,' featured at the Mus é e Royal de l'Afrique Centrale in Tervuren, Belgium from November 24, 2000 to June 24, 2001.

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 the sculpture exhibition "Ken Price Sculpture: A Retrospective" at the Metropolitan Museum of Art in New York City through September 22, 2013 and the works on paper exhibition "Ken Price: Slow and Steady Wins the Race" through August 18 at the Drawing Center, both featuring the work of California artist Ken Price.

The article previews exhibitions including "Records of Rights" in Washington featuring an original 1297 Magna Carta, "Bending Toward Justice" at Rubenstein Gallery in California, featuring charge papers of a slave man and "Yearning to Breathe Free" featuring 1860 census of textile workers.

The article reviews the exhibition "Burying the Lede" at the Momenta Art gallery in Bushwick in Brooklyn, New York City from September 13 to October 27, 2013, featuring ink-on-paper journalism from several visual artists.

The article previews an art exhibition that will feature tapestries, large-scale watercolor prints and hand-stamped works on paper by the contemporary American artist Chuck Close, to be held at the Guild Hall exhibition-and-performance space in East Hampton, New York, from August 10th through October 14, 2013.

The article reviews the exhibition "Zarina: Paper Like Skin," featuring the works of artist Zarina Hashmi at the Guggenheim Museum in Manhattan, New York City on April 21, 2013.

The article reviews a 2012 exhibition by Benjamin Ball and Gaston Nogues, featuring sculptures made with bio-degradable paper pulp, held at the SCI-Arc gallery in Los Angeles, California

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]

From prehistoric cave paintings of beef on the hoof to Renaissance canvases depicting the Last Supper to Andy Warhol's picture of a Campbell's soup can, food has inspired art. But the most striking images in ''Art and Appetite,'' a small, thought-provoking exhibition of prints and photographs at the Davison Art Center, on the campus of Wesleyan University in Middletown, are less about food than they are about its absence. Not to worry -- you won't go home feeling guilty about your Thanksgiving meal. The curator, Clare Rogan, offers several examples of what you might call the joy of looking at cooking. Roy Lichtenstein's ''Sandwich and Soda,'' printed in red, white and blue (on plastic instead of paper), revels in the crisp triangles of bread and the spherical bubbles in a soft drink; Donald Sultan's richly colored screen prints of peppers, cherries and pears are sensuous and inviting. Even Claes Oldenburg's whimsical lithograph ''Flying Pizza,'' with its blast of tomato red and its dancing slices, is about enjoyment. [ABSTRACT FROM AUTHOR]

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]

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]

ROBERT COLESCOTT 'Works on Paper From the 1970s' [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]

''Cy Twombly: The Natural World, Selected Works 2000-2007'' is the inaugural exhibition for the new Renzo Piano-designed Modern Wing at the Art Institute of Chicago (both opened earlier this month). On display through Sept. 13, it includes 31 works by the octogenarian artist: paintings, wood and plaster sculptures, photographs and works on paper like ''Untitled'' (2001), pictured left. Adult admission is $18 but is free on Thursdays and Fridays after 5 p.m. through Labor Day (www.artinstituteofchicago.org). Several hotels are offering two free museum passes as part of special packages that coincide with the Twombly show, including the Dana Hotel and Spa, which has a starting nightly rate of $240 (www.danahotelandspa.com), the Chicago Marriott Downtown Magnificent Mile, which has a starting rate of $164 (www.chicagomarriottdowntown.com, enter code P52 for the package, which is available Thursdays through Sundays), and the Blackstone, a Chicago Renaissance Hotel, which has a starting nightly rate of $174 (www.renaissanceblackstone.com, enter code CUE). The James (www.jameshotels.com) will offer free museum passes at its front desk between June 29 and July 5 (one pass per room; rates in July start at $269). [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]

The Austrian artist Alfred Kubin (1877-1959) began his career just as Freud released ''The Interpretation of Dreams.'' Accordingly, the Neue Galerie's ''Alfred Kubin: Drawings, 1897-1909'' is replete with the terrors of the freshly analyzed psyche. Monsters, demons and mythical beasts roam free; humans abandon themselves to bestial impulses. Done in black-and-white pen, ink and spray on heavy paper used for cartography, Kubin's drawings map the shadowy corners of the unconscious. The show, organized by Annegret Hoberg of the Stadtische Galerie im Lenbachhaus, Munich's municipal gallery, also offers viewers an alternative to the image of Viennese art as sumptuous, decorative and refined. You would never guess that Kubin was a contemporary of Gustav Klimt; he is closer in spirit to the Belgian James Ensor and the Norwegian Edvard Munch, visionaries who expressed modernity's spiritual toll and anticipated some of the horrors of the 20th century. [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]

In Japan, before there was plastic, there was lacquer. Shiny and waterproof, it made an excellent coating for wooden cups, bowls, utensils and food storage containers. Unlike plastic, an industrial material, lacquer was a natural product -- the sticky sap of the lacquer tree -- and working with it was a demanding craft. In the hands of a skilled, ingenious artisan like Shibata Zeshin (1807-91), the greatest of all Japanese lacquer artists, it was a high art. Zeshin is now the subject of a marvelous exhibition at Japan Society. As a display of technical accomplishment and material beauty, it is breathtaking. Including stacking boxes, trays, tea services and sword scabbards, as well as paintings on fabric and paper, the show, ''The Genius of Japanese Lacquer: Masterworks by Shibata Zeshin,'' presents an artist of exquisite taste and almost superhuman manual dexterity. [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 the art exhibit "Paintings and Works on Paper," by Rolph Scarlett, at Saint Joseph College Art Gallery in West Hartford, Connecticut, from July 29 to September 17, 2005.

Reviews the exhibition "Oil Paintings and Works on Paper" of the artist Marlene Dumas shown at the Zwirner & Wirth in Manhattan, New York.

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.