Artforum notes that in Baldo’s newest the canvas is transformed into a participating body, a seismograph that records movements, pressures, controlled accidents, and the steps—confident or uncertain—of the viewer, who sets the exhibition’s tempo.
#baldodiodato
Travis Jeppesen’s 2019 essay “Queer Abstraction (Or How to Be a Pervert with No Body). Some Notes Toward a Probability” asked whether nonrepresentational art could ever be understood as queer or nonbinary. Curator Tomek Baran took Jeppesen’s question as the starting point for “WOW,” an exhibition that brings together works by Marta and Grzegorz. Both artists escape classification, making use of seemingly spontaneous and yet exacting gestures that situate their paintings, textiles, and installations somewhere between construction and destruction.
#martasala
Juxtapoz is all about Andrew’s newest calling it a fresh, time-consuming body of maximal work.
#andrewschoultz
Olivier Mosset’s was the “M” in BMPT, and his career could almost be seen as a grand Fluxus-style gesture of quiet provocation. Combining a zero sum approach to painting with Situationist-style tactics, BMPT turned formalist reduction into a political statement, which is why it remains relevant today. The group was highly controversial when it emerged, and it dissolved rapidly over predictable disagreements between its members after the withdrawal of Michel Parmentier in 1968. It is generally seen as a direct predecessor to the Supports/Surfaces group (1968–72).
#oliviermosset
Adam Frezza and Terri Chiao are both halves of CHIAOZZA. Independent of their individual production this team produces work across many media with an emphasis on trial and error and play.
#chiaozza
Painting After Art is Dead 