installation view

Closing Soon—Joe Bradley at Gagosian Beverly Hills

April 4, 2017

Oil paint has so much life. It really behaves like it wants to behave. You’ll go into a painting with an idea of what you want to do, and forty seconds later your plan has been upended. You always have to deal with these little skirmishes on the canvas.
—Joe Bradley

“Joe Bradley: Eric’s Hair,” at Gagosian Beverly Hills, ends this week on Saturday, April 8.
Image: “Joe Bradley: Eric’s Hair,” installation view. Artworks © Joe Bradley. Photo by Jeff McLane.

Hans Haacke, MoMA Poll, 1970

Made with Instagram

Elmgreen and Dragset, Powerless Structures, Fig. 123, 2001 
MDF, wood, paint, door handles, hinges; 217.5 cm × 133.5 cm


Can choreography be performed in the form of an exhibition?

Sunday is the last day to see Anne Teresa De Keersmaeker’s answer, as the dancers of Rosas Dance Company continue their five-day performance of De Keersmaeker’s “Work/Travail/Arbeid” in our Marron Atrium. More info at

[Anne Teresa De Keersmaeker. Work/Travail/Arbeid. 2015. Installation view, The Museum of Modern Art, March 29, 2017. © 2017 Anne Teresa De Keersmaeker. Photos by Julieta Cervantes and Anne Van Aerschot]

Mario Merz, Igloo, 1968

“When I was in undergraduate school, there was a foundry, but they wouldn’t let the women actually do the bronze pours. My roommate and I were the first ones. There were a lot of times that one had to push. Sculpture itself felt like a male domain. So it felt like a feminist stance to be a sculptor.”

An interview with artist Becky Howland on her work at MoMA PS1, 30 years ago and now in our Mark Leckey survey (closing Sunday, March 5!). Read it at

[Becky Howland with her Transmission Towers #1–7 in P.S.1 Contemporary Art Center’s third-floor “Auditorium” in 1986. Photo courtesy of Peter Bellamy; Becky Howland. Transmission Tower #1.” Installation view, Mark Leckey: Containers and Their Drivers, MoMA PS1, October 23, 2016–March 5, 2017]