Deborah Kass, “Subject Matters” (1989–90) (photograph Hrag Vartanian/Hyperallergic)
From reinventing abstraction to recreating Barbie for brand spanking new generations, we’re a variety of artwork this week. Be certain that to catch Norman Bluhm’s unorthodox abstracts and the Museum of Arts and Design’s dizzying show of Barbie’s historical past earlier than they finish this weekend. After that, revisit artwork historical past’s previous with a survey of Christo and Jeanne-Claude’s legendary undertaking “The Gates” and Deborah Kass’s feminist pastiches. Manuel Herreros de Lemos and Mateo Manaure Arilla’s poignant 1982 documentary “Trans” and its accompany exhibition on the Institute for Research on Latin American Artwork rounds out our listing. —Natalie Haddad, Critiques Editor
Norman Bluhm
Miles McEnery Gallery, 511 West twenty second Avenue, Chelsea, ManhattanThrough March 15
Norman Bluhm, “Bulgaroctonus” (1967), oil on canvas (courtesy Miles McEnery Gallery)
“What makes Bluhm’s painting engaging and necessary is that he harnessed his restless, rebellious spirit into a complex, continually changing body of work.” —John Yau
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Barbie®: A Cultural Icon
Museum of Arts and Design, 2 Columbus Circle, Columbus Circle, ManhattanThrough March 16
Carol Ockman, Nathan Stobaugh, and Zachariah DeGiulio within the hot-pink Corvette on the fourth flooring of the exhibition (picture used with permission)
“Its history of inclusions and exclusions continues to stir up everything from veneration to violence in ongoing Barbie play and in the work of generations of artists.” —Carol Ockman
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Christo and Jeanne-Claude: The Gates and Unrealized Initiatives for New York Metropolis
The Shed, 545 West thirtieth Avenue, Chelsea, ManhattanThrough March 23
Christo, “The Gates (Project for Central Park, New York City)” (2004–05), drawing in two components, pencil, charcoal, pastel, wax crayon, technical drawing, aerial {photograph}, and cloth pattern (© 2005 Christo and Jeanne-Claude Basis; photograph by André Grossmann, courtesy Christo and Jeanne-Claude Basis)
“I felt that I shared with these many strangers something so fragile and immaterial as a memory, that these neon orange gates staked not just paths in the park but in my past, our past.” —Lisa Yin Zhang
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Deborah Kass: The Artwork Historical past Work 1989–1992
Salon 94, 3 East 89th Avenue, Higher East Aspect, ManhattanThrough March 29
Set up view of Deborah Kass: The Artwork Historical past Work 1989–1992 at Salon 94 (photograph Hrag Vartanian/Hyperallergic)
“Kass collides the stylistic calling cards of prominent male artists with a new, more sexualized reading that turns splashes of paint into cum shots.” —Hrag Vartanian
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Dueñas de la Noche: Trans Lives and Goals in Eighties Caracas
Institute for Research on Latin American Artwork, 142 Franklin Avenue, Decrease East Aspect, ManhattanThrough April 5
Promotional picture for “Trans” (1982), a documentary directed by Manuel Herreros de Lemos and Mateo Manaure Arilla, on view on the Institute for Research on Latin American Artwork (photograph Natalie Haddad/Hyperallergic)
“The film [“Trans”] is the exhibition’s clear centerpiece, and often is the solely likelihood most individuals will get to see it — even upon its launch, the filmmakers struggled to safe screenings” —NH
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