Given their extraordinary force and paradoxical restraint, these paintings represent the kind of psychic change that distinguishes the fifties from the sixties.

These staggering images made it clear that the universe is an interconnected assembly of electrical circuits and that energy and matter are, indeed, infinite in their connectivity.

Ryman appears less concerned with representing the color white in all its purity than with the experience of “real light,” in the non-illusionistic sense of “the light by which the paintings are seen.

With Zhang’s Rulai one senses the conflicting elements of life and death within the gray ash.

This first major museum retrospective of Mexican Gabriel Orozco has been viewed as controversial, and not entirely for reasons of taste.

November 7 – December 19, 2009 415 West 13 Street, between 9th Avenue and Washington Street New York City, 212 999 7337 While many of the most lucrative sales in auctions devoted to Chinese contemporary art have gone to large-scale expressionist-style painting, Liu Ye offers a subtle counterpoint as if to suggest that not all…