Virtual Is Political

Pretender contenders: US Department of Art and Technology plays house of representatives


DAVID ALTMEJD
October 22-November 27
Andrea Rosen, 525 West 24th Street, 212.627.6000

With this display of Altmejd's latest and most ambitious constructions, his schizy conjunctions of mirror-display-case minimalism, bejeweled trinkets, and disintegrating werewolves should finally make perfect sense—at least in terms of preservation and decay. Adding to the antiseptic weirdness are Craig Kalpakjian's digitally created photographs in Gallery Two.


JOSEPH KOSUTH
October 22-December 4
Sean Kelly, 528 West 29th Street, 212.239.1181

New work by this major first-generation Conceptualist whose projects—as intellectually rigorous as they are visually seductive—deal with site, context, history, and society, as well as more formal disembodied ideas.


JOHN BOCK
October 28-December 4
Anton Kern, 532 West 20th Street, 212.367.9663

Bock, who built his bad-boy reputation for unpredictability by attempting to create an unmediated experience with extravagantly improvised environments, costumes, and performances in the form of lectures or impromptu fashion shows, shows a sculptural installation and a newly filmed project.


BARBARA KRUGER
October 28-December 18
Mary Boone, 745 Fifth Avenue, 212.752.2929

"Picture/Readings" and Color Work.


PAUL PFEIFFER
November 5-December 4
The Project, 37 West 57th Street, 212.688.4673; Gagosian, 555 West 24th Street, 212.741.1111

A double show of his latest mesmerizing images is in the works. Expect some new small format video installations, one large new projected piece at each gallery, a suite of photographs tentatively titled Four Horsemen of the Apocalypse, and probably some sculptural elements as well. And prepare to be surprised: The work, still in progress, could evolve into something entirely different.


RICHARD TUTTLE
November 6-February 26
Drawing Center, 35 Wooster Street, 212.219.2166

Five clusters of new work by an artist whose understated ultra-informal installation at the Whitney a long time ago startled everyone. While his little-nothing works have acquired a certain aura of formality by now, "It's a Room for 3 People"—an understated installation of sculpture and drawings—still stresses seeing, simplicity, and the basic materiality of wood, paper, cloth, string, cardboard, and Styrofoam.


'DIALOGO'
November 9-December 18
The Kitchen, 512 West 19th Street, 212.255.5793

The art scene in Mexico has been hopping, so it makes sense that works by 100 Mexican artists will be shown in 26 exhibition spaces here during November, thanks to the coordinated efforts of "Mexico Now." The Kitchen does its part with this sampling of new video works, including a media installation by Silvia Gruner, a multi-channel video by Julio Orozco, and a screening area with videos by a number of other young Mexican artists.


RAQS MEDIA COLLECTIVE
November 9-December 30
Bose Pacia, 508 West 26th Street, 212.989.7074

This scarily smart New Delhi group—which since 1991 has been making use of software and the Web in new-media installation projects about the production and dissemination of information, the nature of urban and digital space, surveillance, and commodity culture—was a big hit at Documenta 11. "The Imposter in the Waiting Room" is their first show here.


'FLIPSIDE'
November 11-January 8
Artists Space, 38 Greene Street, 212.226.3970

"Could one utopia be simply a flipside of the other?" asks this group show, which features 34 artists from Eastern Europe and the U.S. With pieces by Maja Bajevic, Yuri Leiderman, Pavel Kruk, Vadim Fishkin, Joan Jonas, Tony Oursler, Donald Odita, and others, it's bound to pose new questions about political, economic, and cultural change, even as it reverts to pre-globalistic binary opposites.


DANA SCHUTZ
November 11-December 11
LFL, 530 West 24th Street, 212.989.7700

Having skyrocketed from fledgling obscurity to the 2003 Venice Biennale, Schutz continues to produce disjointed, intelligent, quirky paintings that manage to be simultaneously about representation, abstraction, the weird processes of painting, and the malleability of imagery, while exposing the unruly psychology of a painterly mind at work.


YOSHIO TANIGUCHI
November 20-January 31
Museum of Modern Art, 11 West 53rd Street, 212.708.9400

If all stays on schedule, MOMA returns home and pats itself on the back with an inaugural exhibition honoring the new building's architect. Along with MOMA's bigger (and hopefully better) new self, it includes eight of Taniguchi's museum buildings in Japan. Also highlighting the new museum's digs is Mark Dion's "Rescue Archeology—A Project for MOMA," which offers historical relics unearthed from the museum's foundations.


'EAST VILLAGE USA'
December 3-March 19
New Museum of Contemporary Art/Chelsea, 556 West 22nd Street, 212.219.1222

Revisiting the renegade art scene that flourished briefly in the '80s and suddenly died out—decimated by the AIDS epidemic—this exhibition ranges from the 'Times Square Show' to the Mudd Club, from graffiti and punk to Neo-Geo. With paintings, sculpture, films, videos, and installations by over 50 artists, and documentary material, it offers a glimpse of the days when the East Village teemed with shop-front galleries and unruly creative energy.


Photo
Previews by Vince Aletti


SHOMEI TOMATSU
September 22-January 2
Japan Society, 333 East 47th Street, 212.832.1155

This is the first stop on the international tour of a major Tomatsu retrospective, which includes a broad range of his tough, engaged vision—vastly influential on the look and attitude of post-war Japanese photography but still underappreciated in the West.


WIJNANDA DEROO
September 23-November 13
Robert Mann Gallery,210 Eleventh Avenue, 212.989.7600

Oddly unsettling hotel, guest house, café, and factory interiors from around the world by a Dutch photographer who's been a hit on the international festival circuit.


FRITZ HENLE
September 23–November 27
Throckmorton Fine Art, 145 East 57th Street, 212.223.1059

Classic images of the people and landscape of Mexico, made in the early 1940s by this self-taught but quite sophisticated German editorial photographer.

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