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On the heels of major institutional exhibitions—a solo Whitney exhibition for Dodd in 2016, and the Venice Biennale for Kasper in 2017—their work comes together in a thoughtful installation that sets Kasper’s “Chandelier” sculptures (,000–,000) against the backdrop of Dodd’s monumental painting, (2017).The latter, characteristic of the artist, mixes pigment with natural materials (squid ink, black lichen, walnut, Yerba mate) and leans theatrically against the booth’s back wall.And two works by lesser-known Borna Sammak—one is a mad collage of t-shirt iron-on appliques, the other is a mangled replica of signage from a tax preparer's office—round out an admirably offbeat presentation.These attention-grabbers are offset by a tiny work by Elizabeth Peyton, as well as some conceptual readymades—involving sand and candies, respectively—by prankster Darren Bader.This work is joined by riffs on African masks by Matthew Angelo Harrison, produced using a 3D printer he built himself (and priced between ,000 and ,000); early sculpture by feminist pioneer Judy Chicago, ranging in price from ,000 to 0,000; and two painted-wood constructions by Julian Hoeber, one of which features a realistic cast of his own face secreted in its interior.

An oversized candle portrait by Urs Fischer (meant to eventually burn and dwindle) dominates the space—this one depicts his fellow artist, Adam Mc Ewen.But sometimes, it’s worth sticking to the classics, and it doesn’t get much better than a giant Alexander Calder centerpiece.The untitled mobile sculpture, which can rotate 360 degrees and clocks in at nine feet tall and 11 feet wide, was made by Calder in India in 1955 as a commission for a collector there. (In case you’re wondering, James and Mary were the most common; Quinton and Janine were the least.) Mc Collum often looks at the relationship between the unique individual and the mass-produced in his work, and this particular installation (on offer for 0,000, unframed) is especially relevant today despite having been created in 2004.Mine: “This year is the anniversary of the massacre of thousands of students in Mexico in 1968; 43 students are still missing, most likely they were murdered by the government; there is a systematic murder of women and girls in Mexico.” The work’s unexpected intimacy forces you to tune in to atrocities that might otherwise filter past your attention in the overwhelming stream of information present today, and possibly listen in a bit more intently in the future.Ugo Rondinone inaugurated Miami’s newly renovated Bass Museum in late October with a band of lifelike, emotive clown sculptures, an exhibition that Zürich and New York-based gallerist Eva Presenhuber has celebrated by giving over her entire wall-less booth to the renowned Swiss artist.The array of shirts and jackets, created by artist Sanya Kantarovsky with former RISD classmate and fashion designer George Mc Cracken, are patterned with watercolor imagery of the aging, white male leisure class.A button-down decorated with nude men sprinting through a field of cacti hangs beside a shirt patterned with old white men, donning patriotic colors, as they strangle one another to get to the top.(Large prints, in an edition of three, are offered for ,000; smaller works are ,500).Braunig’s modest paintings, presented in handsome, artist-designed frames, are fleshy and sensual, despite the absence of any actual human figures.Cwynar has enjoyed a burning-hot career ascendance with an aesthetic that mingles aspects of graphic design as well as fashion and product photography.The works on view here are technically portraits, but only in the most unconventional sense.

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