David Salle

The Brucennial Frieze New York Stanley WhitneyTeam Gallery Owen GrayBlue Mountain Gallery Jeff WallMarian Goodman IN RECENT MONTHS, people who are avidly engaged with contemporary art have been checking their pulses so often that I can only conclude they are worried about their vital signs, not to mention the health of the galleries, museums, auction houses, art fairs, and sundry publications that help to sustain them. These health checks have become global in nature, with frenzied reports arriving from galleries in Beijing, auctions in Hong Kong, an art fair in Abu Dhabi.

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Generations

Picasso: Mosqueteros--Gagosian Gallery Younger Than Jesus--New Museum The Pictures Generation, 1974-1984--Metropolitan Museum of Art Compass in Hand--Museum of Modern Art The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea. People did not just come and look.

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Generations

PICASSO: MOSQUETEROS GAGOSIAN GALLERY   YOUNGER THAN JESUS NEW MUSEUM   THE PICTURES GENERATION, 1974-1984 METROPOLITAN MUSEUM OF ART   COMPASS IN HAND MUSEUM OF MODERN ART   The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea.

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Beyond Belief

I.  “TRASH” ACCORDING TO Sabine Folie, chief curator at the Kunsthalle in Vienna, “has become a transc end ental necessity.” Folie, about whom I know nothing other than her absolutely perfect name, is writing in the catalogue of “‘Dear Painter, Paint me...,’” an exhibition that recently toured Europe and included work by John Currin, the fly speck of a painter who has been stuck in many a New Yorker’s eye since his mid-career retrospective opened at the Whitney Museum in November.

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Robert Hughes explains how New York in the 1980s is *not* Paris in the 1890s. He gives a compelling account of the decline of the fine arts in America

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