Barry Nemett on Robert Rauschenberg

All looked pleasant enough near the foot but, like a dramatic plot twist, everything closer to the bed’s head looked war-torn, tortured.

Heide Fasnacht on Martin Kippenberger

The gizmo he depicts with slapdash but accurate strokes of orange and red is reasonable, yes, but dissolves into the vagaries of emotional weather; it does not add up to the logical structure it pretends to be.

Ruth Marten on Paul Caranicas

He’s condensed a mall into a theatre set, flattening the rich detail into a sort of Greek chorus to serve the dumb central gun shop.

Azita Moradkhani on Louise Bourgeois

The tension between the bodies of mother and child builds up until the moment of physical separation with the delivery of a new entity in the world. Bourgeois depicts that moment using transparent skins of juicy crimson.

Julie Heffernan on El Greco

El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.