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.

Laurie Hogin on Grant Wood

The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.

Aaron Zulpo on Anthony Cudahy

One man is found pulling leaves from a stem, as if counting down time. Another man stares longingly at a pile of petals.