In the group exhibition “No Forms,” on view at the Hill Art Foundation through July 15, the curator Margot Norton places a trio of Martin’s numinous works in a gratifyingly rangy conversation with recent pieces by seventeen female and gender-nonconforming artists, with an eye on restrained beauty and a slippage of categories. Paintings are sculptural (Dyani White Hawk’s exacting composition on canvas is rendered in shimmering beads), solid objects defy gravity (Agnieszka Kurant’s subtly magical “Air Rights”), and the deepest space here appears in 2-D (Tauba Auerbach’s bewitching trompe-l’oeil acrylic on paper). Ruby Sky Stiler vivifies the familiar Minimalist trope of the grid—and thumbs her nose at the movement’s rule of no figures allowed—in her effervescent, mosaic-like portrait, “Father and Child”.
“Pictures of Beasley’s grandfather’s trailer, blown up and printed across still more T-shirts, cover two of the pieces on view at “A body, revealed,” another show of the artist’s work, running through the end of April at Manhattan’s Hill Art Foundation. In a way, these resin-treated tees reconstruct the mobile home, sold off years ago, inside the gallery — a place and its former occupant unearthed by their absence.”
“People of refinement have a disinclination to colors,” Goethe argued in an 1810 treatise on chromatic perception. That’s as good a justification as any for the three shows, all excellent, quite unalike, staged so far at this private foundation. Last year we saw the paintings and photography of Christopher Wool (black, white, gray) and the sculptures of Charles Ray (silver, aluminum); now the Hill turns to Minjung Kim, a South Korean artist whose painstaking, profoundly beautiful ink paintings deploy, in the main, a muffled palette of grays and blacks.”