Month: January 2026

Uncategorized

20 Years of Looking: From a Private Notebook to a Public Archive

February 2026

Naim Jun Paik, Gagosian, Hong Kong
Naim Jun Paik at Gagosian, Hong Kong

Twenty years ago today, I hit “Publish” for the first time. Didn’t realize I was creating what would be the longest running blog covering art exhibitions.

I didn’t do it to build a “brand” or to become an “influencer.” In fact, those words barely existed in the way we use them now. I did it because I was tired of forgetting what I’d seen. I was tired of walking out of a white-walled gallery in Chelsea or a dim basement in London and having the names of the artists and the visceral feeling of the work slip from my memory.

It took an architecture-adjacent exhibition, on Le Corbusier’s furniture designs, to make me stop and photograph what I saw so that I would have access to it later.

So this blog started as a digital notebook, a place to park my thoughts so I could find them later. I never expected it to become a twenty-year map of my life.

The Ghosts of Galleries Past

Looking back through the archives is a trip through a version of the art world that mostly exists in memory now. There are reviews here of galleries that folded during the 2008 crash, pop-ups in neighborhoods that have since been completely transformed, and “emerging” artists who are now household names (and a few who vanished entirely).

It turns out that when you keep a notebook for two decades, you accidentally become a historian.

Paul Klee at David Zwirner, New York
paul klee at Zwirner, NY

The Evolution of the “Eye”

If you go all the way back to the early blog (I don’t encourage), it’s frankly a bit cringeworthy. My “eye” back then was different, my biases were different. But that’s the beauty of a 20-year trail. I can see exactly where I learned to appreciate what I appreciate, where I fell out of following certain trends, and how I found my own voice as a viewer (if that makes sense).

A note to my 2006 self: You didn’t properly cover that one show, but your enthusiasm was exactly where it needed to be. It got this rolling.

To Those Who Stumbled In

To anyone who has been reading since the early days of RSS feeds, or anyone who just found this notebook via a random search for an obscure exhibition: Thank you. This space is still just a notebook. It’s a place for me to remember. But knowing that there’s a community of fellow observers peering over my shoulder has made the process of looking more rewarding.

Here’s to twenty years of white walls, strange installations, and the endless pursuit of seeing something that changes the way we think.

Julian Schnabel  at Gagosian
julian schnabel at gagosian ny

What’s next?

I’m not stopping. The notebook is still open.

-Smokychimp

Read more
Share:
Contemporary Art, Sculpture

Dan Flavin: Grids

Zwirner, New York, January 15—February 21, 2026

Dan Flavin at David Zwirner is often the rare “big-name light show” that is actually about looking, not just bathing in color for the selfies. This one, titled Dan Flavin: Grids, is a tight, historically specific presentation: it focuses on Flavin’s “grid” constructions, a body of work he began in 1976.  Zwirner frames it as the first focused examination of that format.

The gallery’s stated premise is also unusually specific: several installations are “re-creations” of how Flavin installed the grids in significant lifetime exhibitions, with loans from public collections and the Estate. That matters because Flavin’s work is not just “light in a room.” It is light behaving against a particular corner, a particular wall height, a particular ceiling condition. In other words: architecture, but with fluorescent tubes doing the drawing.

Flavin’s grids are a special subset of his practice because they push past the clean one-liner summary of him as the artist of commercially available fluorescent lamps. In the exhibition text, curator Michael Govan is quoted calling the grids “among the most intense and concentrated” of Flavin’s lights. The reason is structural: the grids pair an equal number of vertical fixtures facing backward with horizontal fixtures facing forward, in varying color combinations. You end up with a work that broadcasts outward to you while also pumping color into the corner itself, so the room becomes a mixing chamber.

[…]
Read more
Share: