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The article reviews the exhibition featuring the artworks of Nola Zirin at the June Kelly Gallery in New York.

The article reviews a sculpture exhibition by the artist Winifred Lutz at the Zabriskie Gallery in New York City.

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 reviews an unnamed art exhibition that featured various sculptures, installations and works on paper by the contemporary Belgian artist Philip Aguirre y Otegui, held at the Mu.ZEE Kunstmuseum Aan Zee located in Ostend, Belgium, in early 2013.

The article reviews an unnamed art exhibition that featured various paintings, drawings and works on paper by the contemporary American artist Catherine Murphy, held at the Peter Freeman, Inc. gallery located in Manhattan, New York City, in early 2013

The article reviews an unnamed art exhibition that featured various paintings, works on paper and prints by the American Abstract Expressionist artist Robert Motherwell, held at the Jerald Melberg gallery located in Charlotte, North Carolina, in early 2013.

The article reviews the art exhibition "Unknown but Knowable States," which featured various paintings, sculptures and works on paper by the American artist Dorothea Tanning, held at the Gallery Wendi Norris located in San Francisco, California, in early 2013.

The article reviews the contemporary art exhibition "Cups, 1974-2012: Ceramic and Steel Cups, and Works on Paper," which featured various artworks by the American artist Peter Shire, held at the Lora Schlesinger Gallery in Santa Monica, California, in 2012.

The article reviews the exhibition "Deep Impressions: Willie Cole Works on Paper" at The James Gallery of the Graduate Center of The City University of New York in New York City from September 21, 2010 - January 8, 2011.

The article reviews several exhibitions at the New York area, including "Reflections on the Electric Mirror: New Feminist Video" at the Brooklyn Museum until January 17, 2010, "Slash: Paper Under the Knife" at the Museum of Arts and Design until April 4, 2010, and "William Blake's World: A New Heaven Is Begun" at the Morgan Library and Museum until January 3, 2010.

The article reviews the exhibition "Paper Shredders" at the Dolphin art gallery in Kansas City, Missouri from February 13 to March 21, 2009.

The article reviews the exhibition "Tsang Kin-Wah: What Are You Looking At?" at the Chinese Arts Centre in Manchester from June 27 to September 28, 2008.

The article reviews several exhibitions including "Dion Zwirner: Works on Paper," at the Davidson Contemporary in Seattle, Washington from March 7-29, 2008, "California Dreamin'," at the San Luis Obispo Art Center in California from April 6 through May 25, 2008 and "Cat Clifford: Fall," at the Howard House in Washington which closed in January 2008.

The article reviews the exhibition of artist Dean Kessmann's works "Plastic on Paper," at Conner Contemporary Art in Washington D.C. in 2005.

Reviews an exhibition of a series of art works on paper by German-born gesturalist Dieter Roth and the Austrian actionist Arnulf Rainer at Heinz Holtmann Gallery in Cologne, Germany. Popular works on display; Design, colors and images; Artistic style.

Reviews an exhibition of Marsden Hartley's paintings and works on paper at the Hackett-Freedman Gallery in San Francisco, California. Noted works on display; Images, materials and design; Artistic style.

Reviews an exhibit featuring the works of artist Dick Higgins at Columbia College Chicago Center for Book & Paper Arts in Boston, Massachusetts. Noted works on display; Themes and images; Artistic style; Colors and designs.

The article reviews an unnamed retrospective art exhibition that featured various paintings and works on paper by the contemporary Chinese artist Ma Desheng, held at the Rossi & Rossi gallery, located in London, England, from June 7th through July 25, 2013.

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 reviews the art exhibition "Slow and Steady Wins the Race, Works on Paper 1962-2010," which featured various works of art by the contemporary American artist Ken Price, held at the Drawing Center and the Metropolitan Museum of Art in New York City in 2013.

The article previews an exhibition featuring small works on paper by the American artist Mark Adams, on view at the Winfield Gallery in Carmel-by-the-Sea, California from October 5-31, 2013.

The article reviews an unnamed art exhibition that featured various drawings, paintings, paper constructions and photographic ephemera from the American artist Idelle Weber, held at the Hollis Taggart Galleries located in New York City, in early 2013.

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 art exhibition "Coal and Steel," which featured various paintings and works on paper by the 20th-century contemporary American artist Franz Kline, held at the Allentown Art Museum located in Allentown, Pennsylvania, in early 2013.

The article reviews an unnamed art exhibition that featured various abstract paintings and works on paper by the contemporary American artist Jon Pestoni, held at the David Kordansky Gallery located in Los Angeles, California, in late 2012 and early 2013.

The article reviews the exhibition "ELECTRICITY FABRIC PAPER VINYL... Works In Situ & Situated Works from 1968 to 2013 (Dedicated to Michael Asher) by Daniel Buren at Petzel and Bortolami in New York City.

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 discusses artist Peter Blake and presents a review of an exhibit of his work entitled "Rock, Paper, Scissors," on display at the Waddington Custot Galleries in London, England from November 21 through December 15, 2012.

The article previews several art exhibitions which includes "Romare Bearden: The Paper of Truth," and "A Writer's Celebration of Romare Bearden" at the 92 Street Y, community center in New York City on December 3, 2012 and December 9, 2012.

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

The article reviews the exhibition "Painting on Paper: Josef Albers in America" on view at the Kunstmuseum Basel in Basel, Switzerland.

The article reviews an exhibition of abstract works on paper by Hiroyuki Doi at the Ricco Maresca gallery in New York City in 2011.

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]

The article reviews an exhibition of Wallpaper Art designs by Richard Kalina at the Lennon, Weinberg Gallery in New York City through August 13, 2010.

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]

The article reviews the exhibition "Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980-2008" at Miami Art Museum and Freedom Tower in Miami, Florida through January 17, 2009.

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]

The article reviews exhibitions at several museums, including Annie Pootoogook's line drawings that chronicle Inuit life at the National Museum of the American Indian in New York City, New York until January 10, 2010, photographs and diaries of naturalist Earl Shaffer at the National Museum of American History until October 11, 2009, and the exhibit "Works on paper" at the American Art Museum until January 10, 2010.

''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]

The article reviews the exhibition "Paddock Glyphs" at Australian Galleries Works on Paper in Sydney, New South Wales from April 17-May 4, 2008.