Visionary creamiest Doyle Lane. nytimes.com/2023/07/06/art…

Fruits of yesterday’s ice -hammering, Double Gulp ready freezer. LR is a post card of embroidered work by Diana Weymar.

The sight and sound of Jerry Saltz defrosting our seriously vintage fridge with a hammer and dustpan and brush. My hero.

As usual, Carolina A. Miranda is really right.

That prohibition is still in force esp since no one thinks of you as a royalist, much less Royal. Even if you are inherently majestic.

In case you missed it, today’s date is a palindrome!! Moire pattern courtesy cellphone distortion at X3.

Is 97 paintings by one artist too many? nytimes.com/2023/01/23/art…

via @NYTimes nytimes.com/2023/01/02/art…

Thinking back the the “Matisse: The Red Studio” at ⁦MoMA The Museum of Modern Art⁩ last April.

This 1982 print, ‘Shards III’ by Frank Stella evokes. some of Stuart Davis’s Gloucester paintings of the 1930s, right down to the fishing net.

Who is the greatest poet of weather?

One hundred plus works by the great Nellie Mae Rowe at the Brooklyn is a lot to look at esp when the best and biggest (while still small) are worlds unto themselves. One of the season’s best and its only early September!! via @NYTimes
nytimes.com/2022/09/02/art…

I can almost guarantee that you would eat your words.

My take on B Kruger’s timely show in two parts at MoMA and Zwirner. via @NYTimes
nytimes.com/2022/07/14/art…

Barbara Kruger: An Artist Who Changed the way the World Looks. via @NYTimes
nytimes.com/2022/07/14/art…

My review of the New Museum’s electrifying retrospective of the great Robert Colescott.
nytimes.com/2022/07/07/art… op

via @NYTimes
nytimes.com/2022/07/07/art…

This writer Christina Rees may be the next Dave Hickey only better.

My review of MoMA’s ‘Matisse: The Red Studio, a spare, spacious show that considers the painting’s DNA and after effects without wearing you out. nytimes.com/2022/04/29/art…

The latest In streatery half-walls, gravel In wire, fit for a bunker. A coming trend on University Pl?