Marlborough Gallery, New York, Nov 9 2023 to January 13 2024.
Tadaaki Kuwayama: 1932-2023.
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Martin Wickström: Perfume River
Mike Weiss Gallery, New York, April 10, 2014 – May 10, 2014
Diana Al-Hadid: “Women, Bronze, and Dangerous Things
Kasmin Gallery, New York, November 2 – December 22, 2023
Al-Hadid is a Brooklyn based artist. Born in Aleppo, Syria, Diana Al-Hadid emigrated to the United States when she was five years old, growing up in Ohio. There she received a BA at Kent State and then went on to earn an MFA at Virginia Commonwealth University.
The exhibition work spans a number of media, including rigid board, styrene, bronze, and wax. Commenting on the mythological content of the subject matter, the gallery writes:
“Across Al-Hadid’s use of motifs in this exhibition—which includes figures from Greek mythology alongside protagonists in Islamic and Christian narratives—the artist’s contemporary interpretations intuitively navigate different attempts of reading the future through our past. Constructions in nature such as mountains and caves reappear as emblematic elements of landscape tied to the social, psychological, and religious narratives that have been absorbed into dominant culture over the centuries. Indifferent to where these narratives find their origin in theology, Al-Hadid’s method of retrieving stories both communicate with history and imagine them anew. At once prophetic and autobiographical, Al-Hadid’s sensitive installation across two sites of the gallery’s architecture articulates a realm that manifests, both physically and metaphorically, above ground and below.”
Ann Hamilton: As After Is Before
T Space, Rhinebeck, New York, July 16 to October 1 2023
I met Ann Hamilton in 1998 when she installed her piece “Myein” at the Venice Biennale (I was working to install the Philip Johnson exhibition at the Ca’ Zenobio). Was delighted to see her again here at her work exhibited at Steven Holl’s T Space room.
This piece is an installation of wool coats and sheep fleece, as aromatic as it was beautiful
Inscribed on a stone near the coats are her words:
as outside is to inside
-Hamilton
as animal is to human
as stone is to words
as sound is to song
as image is to object
as made is to grown
Anindita Dutta: Performance Piece
Pen and Brush, New York, May 20, 2026
Anindita Dutta is an Indian-born, US-based sculptor, installation artist, and performance artist whose practice is materially anchored in wet clay and, increasingly, in the collision between clay and repurposed everyday matter (textiles, clothing, domestic remnants). Her work treats the body as a site of pressure: memory, mortality, and impermanence made literal through the thick clay that cracks, slumps, dries, and records her imprint.
Her most legible “signature” is the way she uses clay as both medium and metaphor. Clay lets her keep process visible: surfaces read as worked and worried. In performance-related work, the body and clay often blur into one another. Clay carries its own behavior, and Dutta leans into it rather than hiding it.
A mildly skeptical read, and I think it is fair, is that work like this can tip into seduction by material density. When it’s strongest, the material excess is in service of a specific psychic or bodily proposition, not just “look how much the surface can hold.” The better pieces tend to be the ones where she maintains a clear hierarchy: sensation first, symbolism second, then spectacle.