Darren Jones exhibited four works hung side-by-side. Although they were made between 2012 and 2013 and are each composed of individual intentions, because of their proximity and significance they were, contextually speaking, separate, but acting as a collective and almost singular work. Hanging on the far left was Duct: a piece of brown paper with…

The storm had subsided only recently. The gaping holes in those skeletal furnishings, coated with a sheen of silver as if still soaked with moisture from the floodwater, are tell-tale signs of recent damage. It was only yesterday that someone was sitting in that chair, talking to a friend who was snuggled in the nook…

A Klee painting named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive…

Through a series of inventive and cogent gestures and placements Michael Joo has responded to and shaped the 100-year-old industrial space where Surviving Sandy took place. He incorporates the track lighting installed for the show into his piece Untitled (Impacted). He also lowers the piece an additional five-and-a-half-feet to the same height of the Herkimer…

From a semi-transparent sail-like amalgamation, a central bamboo mast rises almost seven feet, pulling its wire skin to a peak as it ascends toward the ceiling. Its upward reach carefully countered by the object’s mass and the implied movement of the four red, rubber wheels that form its base—this behemoth is built to move. Between…

Ellen Phelan’s Field Through Trees, is built up and wiped away—built up again, and blurred. Purple, yellow, blue, the darkness of the tree trunks closest to us shows the strokes of paint as paint, and gives itself away even as it describes that which we are to look through. Past the trees there is a…

There’s something rather poetic in the way James Hyde paints bands of color over a digital print (Down for Up, 2011), almost as if he were exposing the landscape as an illusion while at the same time validating the corporeality of rainbows. Similar bands can be found zigzagging through a terrain of wood and paper…