I have made conscious decisions to support artists that live in and produce within ecologies of the body and world in a way that seeks to represent the process of moving into some sort of raw reality or deeper truth, realities or truths that can only be known fleetingly. Of acknowledging what is the truth of the moment, and how that is interconnected to all living things, non-living things, systems of race and class, ideologies of power and economy, and so on. Narrative and meaning exist as support structures within this mode, but as self-reflexive tools that are also by-products. They are treated as just another level of thought trying to understand that that cannot be understood, another level of mimesis. Paul Soto, gallerist*

AUTOMATIC DOOR, a group show at Park View / Paul Soto, will be up for one more week.

Participating artists include Victoria Colmegna, Andy GiannakakisAidan Koch, Mark McKnight, Dylan Mira, Alex Olson, Matt Paweski, Autumn Ramsey, Mark A. Rodriguez, Kate Spencer Stewart, J. Parker Valentine, and Willa Wasserman.


Through August 30.

Park View / Paul Soto

2271 West Washington Boulevard, Los Angeles.

Automatic Door, Park View / Paul Soto, August 2019. Images courtesy and © the artists and Park View / Paul Soto.


In conjunction with Plumb Line—Charles White and the Contemporary at CAAM, Kohshin Finley and Diedrick Brackens will discuss their practice in a conversation moderated by Essence Harden.


Wednesday, August 21, at 7 pm.

California African American Museum

600 State Drive, Exposition Park, Los Angeles.

From top: Kohshin Finley (left) and Diedrick Brackens, photographs courtesy and © the artists, the photographers, and CAAM; Kohshin Finley, Listen to the Officer, 2017, diptych, oil and mixed media on canvas, courtesy and © the artist; Diedrick Brackens (2), demigod, 2019, photograph by Dario Lasagni, courtesy and © the artist; Kohshin Finley, poem, courtesy and © the artist and Cultured Magazine.


POINT OF NO RETURN—a group show at the Museum der bildenden Künste—looks at the Peaceful Revolution in the GDR, “and the radical change of East German society.”

“The exhibition incorporates the immediate history as much as it does the period of post-1989 transformation, illuminating the ‘cracks in the Wall’ that had already existed in the 1980s and the reasons for their emergence. It also addresses the unexpected fall of the Wall and the redefinition of artistic purpose in the time of social revolution. The exhibition is not limited to a subculture of East German artists and instead showcases work by the ‘Remainers,’ the ‘Rebels and Refomers,’ and the ‘Dissidents’ who bade farewell to the GDR before its collapse, as well as the ‘Next Generation.’*


Through November 3.

Museum der bildenden Künste

Katharinenstrasse 10, Leipzig.

Point of No Return, Museum der bildenden Künste, Leipzig, 2019, from top: Cornelia Schleime, Untitled (Horizontebilder), 1985–86, Sammlung Leo Lippold, courtesy and © the artist; Norbert Wagenbrett, Aufbruch, 1990, Kunstarchiv Beeskow, photograph by Andreas Kämper, © VG Bild-Kunst, Bonn, 2019; Lutz Friedel, Adler (Die Brüder), 1989, private collection, © VG Bild-Kunst, Bonn, 2019; Hans Ticha, Der Agitator (Rufer), 1988, Galerie Läkemäker, Berlin, © VG Bild-Kunst, Bonn, 2019; Hans Winkler, Konstruktive Beschwörung, 1991, Estate of Hans Winkler, Chemnitz, © VG Bild-Kunst, Bonn, 2019; Wasje Götze, Die reizende Mauer, 1988, private collection, courtesy and © the artist; Jürgen Schäfer, Ich und Ich (I), 1980, private collection, courtesy and © the artist; Trak Wendisch, Zungenabschneider, 1988, private collection, © VG Bild-Kunst, Bonn, 2019. All images—except Norbert Wagenbrett, Aufbruch—photographed by InGestalt/Michael Ehritt.


PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF—a group show of women artists at Morán Morán, curated by Eve Fowler—is on view for one more week.

This highly recommended exhibition includes the work of Etel Adnan, Frances Barth, Donna Dennis, Florence Derive, Simone Fattal, Magdalena Suarez Frimkess, Barbara Hammer, Harmony Hammond, Maren Hassinger, Suzanne Jackson, Virginia Jaramillo, Harriet Korman, Joyce Kozloff, Magali Lara, Mary Lum, Mónica Mayer, Dona Nelson, Senga Nengudi, Howardena Pindell, and Joan Semmel.

“The title of the show is from a Gertrude Stein text that Fowler selected for its ambiguous poetry that she felt honored the artists.”

I’m not asking the artists to tell me anything, but they allowed me in their studios—a private place where artists often feel vulnerable. — Eve Fowler*


Through August 24.

Morán Morán

937 North La Cienega Boulevard, Los Angeles.

Please Recall to Me Everything You Have Thought Of, curated by Eve Fowler, Morán Morán, 2019, from top: Howardena Pindell, Untitled #51, 2010, mixed media on board, courtesy Garth Greenan Gallery; Magdalena Suarez Frimkess, Untitled, 1972, glazed stoneware; Senga Nengudi, Rapunzel, 1981, silver gelatin print; Suzanne Jackson, finding joy in the mirror, 2016, acrylic, wood veneer, Bogus paper, loquat seeds, courtesy of O-Town House; Donna Dennis installation view; Florence Derive, Blue Manuscript, 2017, oil on raw linen; Maren Hassinger, Whole Cloth, 2017, photograph on fabric; Barbara Hammer, South Fork Yuba River, California, 1973, 2017, silver gelatin print, courtesy of Company Gallery; Barbara Hammer, Dyketactics, 1974, 16mm film transferred to video with sound; Harmony Hammond, Aperture #6, 2013, monotype on paper, courtesy of Alexander Gray Associates; Simone Fattal, Woman as Tree (1), 2010, porcelain, courtesy of Kaufmann Repetto; Frances Barth, A Tiny Pinch, 2017, acrylic on gessoed wood panel; Joan Semmel, Untitled, 2016, oil crayon on paper, courtesy of Alexander Gray Associates; Dona Nelson, Luka, 2015, acrylic and mixed media on canvas, courtesy of Michael Benevento; Etel Adnan, Mount Tamalpais, 2013, ink on handmade paper (2), courtesy of Callicoon Fine Arts; Mary Lum, Informations Practiques, 2019, acrylic on paper; Virginia Jaramillo, Visual Theorems 15, 1979, linen fiber with hand-ground earth pigments, courtesy of Hales Gallery; Harriet Korman, Untitled, 2016–18, oil on canvas. Images courtesy and © the artists and Morán Morán.


This is the closing weekend for OSCAR TUAZON—WATER SCHOOL at the Eli and Edythe Broad Art Museum at Michigan State University.

“In 1968, engineer and inventor Steve Baer self-published the Dome Cookbook, a treatise on mathematics, do-it-yourself architecture, and off-the-grid living. Three years later he created his Zome Home in the foothills overlooking Albuquerque. The house remains one of the earliest modern examples of passive solar architecture; the sun’s energy is collected during the day and stored in drums of water installed in large, bay windows, which then provide heat during the night.

“This unique structural system, and the larger countercultural DIY building and environmental movements of the 1960s and 1970s, form the basis for Tuazon ’s latest conceptual and material research. For his exhibition at MSU Broad—curated by Steven L. Bridges—Tuazon continues his investigations of the relationship between art, architecture, and environmental sustainability, with specific consideration of the exhibition’s immediate context: Michigan and the Great Lakes region.”*

The Water School has grown out of thinking about what role art making can play in building community and culture. Oscar Tuazon

“As the title suggests, Tuazon will initiate the latest version of his Water School, while also bridging the conversation in Michigan with the artist’s schools in California and Minnesota. These schools are spaces for formal and informal learning, opportunities to specifically address water, land rights, and other socio-environmental issues, connecting local concerns with national and global conversations.”*


Through August 18.

Eli and Edythe Broad Art Museum at Michigan State University

547 East Circle Drive, East Lansing.

Above images: Oscar Tuazon, Water School, Eli and Edythe Broad Art Museum at Michigan State University, 2019, photography by Eat Pomegranate Photography. Below: Oscar TuazonZome Alloy, 2016, plywood, aluminum sheeting, and hardware, courtesy and © the artist and Galerie Eva Presenhuber, Zurich.