Pick from More Artists

Preceding names!

Caesar

Are women photographers better off posing or hiding? The subjects of Irene Caesar, Uta Barth, and Rachel Hovnanian include themselves, dolls, empty space, and even me.

Cage

John Cage literally took chances, with both his music and his tastes in art. Is "Rolywholyover a Circus" a fittingly postmodern memorial?

Cai

As Thomas Krens departs the Guggenheim, he leaves behind Cai Guo-Qiang, some fireworks, and an auto wreck. Which most resembles a Cultural Revolution?

In 2006, Nancy Rubins, Cai Guo-Qiang, and "Between the Bridges" join an almost empty landscape for summer sculpture. Is the promise of lower Manhattan culture fading?

Caillebotte

Are museum blockbusters to blame for high museum prices? Tyler Green thinks so, but Gustave Caillebotte makes one wonder about the appeal of big shows and about art on the cheap.

When change came to painting and to Paris, were the department stores there first? Berthe Morisot takes out her best dress and her art, Gustave Caillebotte and Pierre-Auguste Renoir their umbrellas, and Edouard Manet and Claude Monet their brush for "Impressionism, Fashion, and Modernity."

Calder

How did Alexander Calder get from the whimsey of his Circus to the abstract sculpture at Storm King Art Center? His Paris years show him deciding between the noble savage and the savage sophisticate.

Calle

Sophie Calle makes her most intimate thoughts and embarrassing details a matter of public record. But is she giving anything away?

Campbell

Can one construct the life of an artist from three screens and an empty living room? Beth Campbell acts the same wherever she goes, while Fred Wilson finds local color in the museum.

Campin

If the Renaissance still casts a long shadow, Robert Campin cast some of the most intricate ones, especially in his great altarpiece at the Cloisters. Is it still meaningful to say that Western art emerged from one man's inspiration?

Could Robert Campin, Jan van Eyck, Rogier van der Weyden, and Hans Memling have painted just for you? "Prayers and Portraits: Unfolding the Netherlandish Diptych" shows the private side of the Renaissance.

Canogar

With Daniel Canogar, Pipilotti Rist, Mika Rottenberg, and Jennifer Steinkamp, have new media become an obsession? The New York Electronic Arts Fair invades Governor's Island, and the Flying Spaghetti Monster invades Chelsea.

Capote

Is the personal or political blowing off the Gulf? Yoan Capote, Carlos Amorales, Thornton Dial, and Deborah Luster look past the American South to murder, exile, and community.

Caravaggio

What was Caravaggio doing at a Dutch painter's four hundredth birthday party? Perhaps he was helping one study Rembrandt prints.

Can you connect the dots all the way from Leonardo to Caravaggio and call it a regional style? With "Painters of Reality," painting in Lombardy turns out to look more eclectic than that innocent title lets on.

Cardiff and Miller

Janet Cardiff and George Bures Miller have created the ultimate three-dimensional art form, in sound. So why does their work often seem so one-dimensional?

J. Carey

What good are the arts, and who gets to decide what counts as art? John Carey has a stern answer to the first and an accommodating answer to the second, enough to drive even a relativist to the museum.

P. Carey

Is there more to critics, dealers, catalogs, and "the art world" than fraud and theft? A novel by Peter Carey, an economist, and the owner of a possible Jackson Pollock found in a thrift shop all want to know.

Carnevale

The Met has found a name to go with an architectural fantasy from the Italian Renaissance, Fra Carnevale. Has it also found a new course for painting from Filippo Lippi to Piero della Francesca?

Carrier

While the Brooklyn Museum redirects curators, MOMA lets Jacques Herzog and Pierre de Meuron put perception on a leash. Would David Carrier call this museum democracy?

Carroll

For critics of photography, Lewis Carroll has served as everything from moral theater to soft-core porn. So which challenges modernism more, the scantily clad children or the ones all dressed up with only dreams to go?

When I think of sex, violence, and sheer play, am I talking about childhood or art? "Visions of Childhood" at the Snug Harbor Cultural Center lets Lewis Carroll, Nayland Blake, Nan Goldin, Grace Goldsmith, Laurie Simmons, and others ask just that.

Cartier-Bresson

Did Henri Cartier-Bresson make art photography, street photography, fashion photography, or photojournalism? His commitment to plain fact, constant motion, and disorienting experience described modernity.

Casebere

James Casebere uses scale models to create the illusion of vast interiors in ruin, and others have piled up intricate arrangements of everything from trash bags to Twinkies. Has the distinction between art and craft vanished, and is it about time?

Had I entered a history museum, a museum of natural history, or the Museum of Arts and Design? "Otherworldly" combines paintings and photographs with dioramas and scale models by James Casebere and others, for contemporary art in miniature.

castaneda/reiman

Do Chelsea's once idealistic galleries now form a business district—or a theater district? Michael Fried argued that "theatricality" precedes and follows modern art, and he could have been arguing with me as I checked out such artists as Richard Tsao, castaneda/reiman, Deborah Turville, and Scott Tunick.

Castillo

Can fall in Chelsea start any sooner? Liset Castillo, Jules de Balincourt, Dean Monogenis, Jeff Shore and Jon Fisher, and others pack the city.

Cattelan

Will Maurizio Cattelan give up art or "be back soon"? Either way, he and Francis Alÿs turn relational esthetics into toy stores, ego trips, and "slacker art."

Is art for the dead or the living? A memorial to Dash Snow lacks much sign of his art, Lutz Bacher hides herself and the subject of her tribute, and Maurizio Cattelan refuses even to die.

Cézanne

When Pablo Picasso hung a guitar on the wall and called it art, what was it? Like Card Players by Paul Cézanne, it transformed still life into portraiture and back again.

Did Camille Pissarro teach Paul Cézanne everything he knew? Their decade of closest collaboration takes art from Impressionism to an unpredictable future.

With Tod Williams and Billie Tsien as architects, has the Barnes Foundation sold out or found itself? In Philadelphia now, Paul Cézanne, Henri Matisse, Pablo Picasso, and a ton of Pierre-August Renoir are still getting the "hang" of modern art.

Edouard Manet took on a revolution, with The Execution of Maximilian, and "Ambroise Vollard, Patron of the Avant-Garde," witnessed one, in his dealings with artists from Paul Cézanne to Pablo Picasso. Why, then, do "Americans in Paris" seem so tame?

Chamberlain

John Chamberlain denied associations with a car wreck. Could crushed auto parts nonetheless take him from Abstract Expressionism, to Pop Art, Minimalism, and today?

Set side by side, Willem de Kooning and John Chamberlain look lovely, but what gets left out? Perhaps Modernism knew something about omissions (and party crashing) all along.

Chapman

Fire consumed a political statement by Dinos and Jake Chapman, while Sue Coe and group shows like "Bush League" and "The Presidency" went on the warpath. Did any of it make a difference?

For "Sensation" in Brooklyn, British artists and New York politicians recycle old scripts, nearly a decade after appropriation art held sway. With Dinos and Jake Chapman, Chris Ofili, Damien Hirst, Jenny Saville, to name just a few, what accounts for the shock of the not so new, and can a savvy analysis by Hal Foster pin it down?

Chan

After five years in Iraq, can art have mere intimations of disaster? Paul Chan, Deborah Brown, Joy Garnett, Lucien Samaha, and Meg Webster reveal the anxious artist.

Chardin

Chardin's quiet, beautiful still lifes and domestic interiors could well stand for the Enlightenment in paint. So why do people always remember Jean-Siméon Chardin as a painter from another era?

Chartier

Could something as simple as a color chart keep formalism alive—or does it just add another layer of conceptual art? Jaq Chartier, Tauba Auerbach, Kathy Goodall, Harriet Korman, and Catherine Lee turn to dots and dashes for "Ecstatic Alphabets."

Chassériau

Théodore Chassériau died young, as "the unknown Romantic," but his short career took in Classicism, a foretaste of academic doldrums, and a hall of mirrors. Who knew?

Did Neoclassicism, Romanticism, and Modernism make up a single revolution? Drawings follow Jacques-Louis David, Théodore Chassériau, Théodore Géricault, Eugène Delacroix, and revolutionary France, decades before Pierre-Auguste Renoir paints fashion at full length.

Chen

How did the costs of globalization become an art film, with an Asian cast? Chen Chieh-Jen finds loveliness, pride, brutality, and numbingly obvious messages, but also touchingly real faces.

Chia

What lies between self-expression and postmodern theater? Probably sex, smashed dishes, and broken promises, plus a visit to Soho along with Sandro Chia, Tracey Emin, Julian Schnabel, and Philip Taaffe.

Chicago

How many feminisms does it take to light up Brooklyn? Despite "Global Feminisms," Judy Chicago, and a new Sackler Center for Feminist Art, all too few.

Christo and Jeanne-Claude open The Gates to New York. Along with tens of thousands, was I exploring the metaphoric fabric of a city, an installation, a landscape, my own childhood, or the shifting status of a work of art?

Chodorow

Why are women are like that anyway, and how long a feminist bibliography can I compile about it? Nancy Chodorow calls mothering a psychological necessity, even as artists challenge each person's identity and a woman's role.

Church

For decades Frederic Edwin Church returned to the same valleys, vistas, and volcanoes. Does that really make him closer to Impressionism and Modernism than to his Romantic roots?

Must a museum sell such assets as paintings by Sanford Robinson Gifford and Frederic Edwin Church? The "Best of 2008" collides with a financial crisis.

Cimabue

These days artists and celebrities can become famous for their passing fame. Cimabue got there first, before Giotto, however—or was it Duccio?

Clark and Pougnaud

Clark and Pougnaud, Julie Blackmon, Thomas Demand, Benjamin Fink, and Alex Prager make photography at once domestic and fantastic. Can anyone tell what they create, what they stage, what they find, and what they manipulate?

Claude

Academic art may sound sedate, but did Claude Lorrain and Nicolas Poussin have something else in mind? Drawings from them and their time help define an ideal.

Clements

When does a work on paper become wallpaper? With Dawn Clements, Wei Ja, Claire Pentecost, and Lin Yan, it may well become the wall.

Cleopfil

Why are museums competing as sites for celebrity architecture? With a new home by Brad Cloepfil and an inaugural show, "Second Lives," the Museum of Arts and Design demands its place in the arts.

As part of the redesign of 2 Columbus Circle, Brad Cloepfil has clad the Museum of Arts and Design in terra-cotta and glass that, some say, spell out HE in huge capital letters. What are some of its other features?

Cleves Master

Was a Book of Hours a woman's own personal Hell or a prayer for human warmth? The Master of Catherine of Cleves illuminates the early Renaissance.

Close

Can an artist stop believing in his illusions? Chuck Close challenges the camera and raises questions about the idea of artistic genius.

Cocks

Are artists rising to the challenge of 9/11? If Anna Somers Cocks misses political art, Roger Kimball finds it everywhere—but perhaps neither knows where to look.

Coe

Fire consumed a political statement by Dinos and Jake Chapman, while Sue Coe and group shows like "Bush League" and "The Presidency" went on the warpath. Did any of it make a difference?

Cohen

What does a photo album become a lie, and when does it become art? Walker Evans collects postcards, Jem Cohen Polaroids of the city, Patti Smith the veils of Basque country, and Jane Hammond an imaginary tour of Europe.

Colburn

When art looks at disaster, can it see more than the picturesque? Adriane Colburn, Cheryl Molnar, Ed Osborn, Leonardo Silaghi, and Diana Thater find what Leo Marx called the machine in the garden and love among the ruins.

Collier

Francesca Woodman takes herself as subject in empty interiors, while Anne Collier leaves herself just outside the frame. Are they asserting a place for women in photography or looking for a place to hide?

Condo

"Cursed be forever the useless dreamer"—but what about the artist? Lara Schnitger and Fred Tomaselli deal in curses, rituals, and dreams, but George Condo knows that phony transgression may prove safer after all.

Conner

Postmodernism calls practically everything text, including casual words and creative acts. Can Maureen Conner, Ronald Jones, Anselm Kiefer, Peter Sarkisian, Mark Sheinkman, and others avoid reprint corrections with a hand-made book?

Constable

The White Horse is many people's favorite painting at the Frick Collection. Downstairs, can a small show explain the origins of those Romantic landscapes by John Constable?

Can the artist known for direct cloud sketches need five drafts to complete a painting? Two full-size versions of Salisbury Cathedral by John Constable help show Romanticism's changing conception of nature and the creative imagination.

Conley

Is art in a state of emergency? Nari Ward calls an ambulance to Harlem, Sterling Ruby parks a prison in Chelsea, Brian Conley stages war games in Brooklyn, and David Maisel photographs the ashes.

Coolquitt

Does appropriation, by definition, run in one cultural dimension? Between installation, architecture, and nature, Andy Coolquitt, Sarah Sze, and Michael Mahalchick pile it on thick and thin.

Cooney

Is moral philosophy still possible? Tim Cooney believes that a basis for morality is even necessary, and the Internet can help, for acknowledging mere opinions marks a great step toward democracy.

May I add a brief personal appreciation after his death? I offer what I tried with my heart to say at the memorial for Tim Cooney—a writer, a philosopher, a drinker, a madman, and a generous friend.

Cooper

Is that an actual work of art, a view out the window, or the skylight? Diana Cooper, Sabine Hornig, and Joshua Neustein leave one stranded between the gallery and distant places.

Coplans

Art cries out for a great alternative space, but as alternative to what? I find out at the reopened P.S 1, especially in rooms by Marina Abramovic, Pedro Cabrita Reis, Robert Wogan, and John Coplans—whose photographs are a disturbing revelation.

High costs of living and the art-world carnival make postmodern artist and viewer alike pressed for time. For artists like Deborah Mesa-Pelly, Joao Onofre, Kara Walker, Hiro Yamagata, and John Coplans, does that mean more choices, more extravagance, or plainer tales?

Cordova

With the cantilevered Institute for Contemporary Arts in Boston, Diller Scofidio + Renfro let a museum take flight toward the harbor. Do they make Mark Bradford, William Cordova, and Robin Rhode models for contemporary art—or just another sacrifice to trendy art and architecture?

Corris

"Purer and emptier," Ad Reinhardt wrote, and he pushed himself to some of the most austere works of art ever made. How, then, does Michael Corris link them to political cartoons?

Corot

What kind of art criticism belongs online—or anywhere else? As a preface to this Web site, I take my online aims out of hiding and into the landscape of J.-B.-C. Corot, with a contrast to how Michael Kimmelman sees it.

Corse

Try mapping Minimalism, with Anne Truitt and Mary Corse on the coasts, Michael Snow and Kay Rosen in the "central regions." Can a map of a map have firm borders or only light?

Cotter

Holland Cotter embraces a museum's claims for Tullio Lombardo as a Renaissance artist, while Roberta Smith criticizes J. M. W. Turner as a flashy expressionist. Does contemporary criticism need art history?

Seven years after a massive expansion designed by Yoshio Taniguchi, can a museum—or late Modernism—as institution survive? Roberta Smith revisits MOMA, while the Robert Rauschenberg estate provokes Holland Cotter.

Courbet

Gustave Courbet landscapes hold a very feminine eroticism. Did he need Realism to keep his imagination from running wild?

Can the gravity of Gustave Courbet and Vincent van Gogh's manic highs trace a single path to Modernism? van Gogh's final patron and a sometime painter, Dr. Gachet, shows what their admirers often missed.

Coyne

When black, white, and color become so visible that one wants to reach out and touch, can one still call it visionary? Petah Coyne, Robert Ryman, and Richard Tsao move beyond debates over formalism and illusion to metaphor, geometry, and goo.

Cramer

Julianne Swartz, Sam Taylor-Wood, and Jane and Louise Wilson are back, Jonathan Cramer channels Jackson Pollock, and Bjorn Melhus changes the channels on Jerry Springer. Is Chelsea truly over the top?

Cranach

Sandro Botticelli was not all sweetness and light? But did he influence Lucas Cranach?

Crane

How did women end up on both sides of the camera? In photography and video, Barbara Crane, Barbara Ess, and Amy Greenfield fragment the body and the medium.

Craycroft

Can art have a private language, and what would it sound like? Anna Craycroft, Rashid Johnson, Michael Portnoy, and Catherine Sullivan pursue studies in hysteria.

Crewdson

Is it painting or photography, staged or observed? Gregory Crewdson, Ron Diorio, Anne Hardy, Sherry Karver, and E. E. Smith all have one guessing.

Currie

Is London racing past New York or mired in tradition? Ken Currie, Damien Hirst, Christian Jankowski, Marilene Oliver, and Bridget Riley suggest the deep roots of a crazed arts scene and urban landscape.

Currin

Like Lisa Yuskavage, John Currin takes realism seriously. Does it mean more than exposing the female body to mass marketing and other threatening eyes?

If Postmodernism wants to ground art historically, why does it keep riffing so wildly on the past? Consider what happens when Robert Mapplethorpe encounters Mannerism, contemporary painters like John Currin create their own "Idols of Perversity," and—long before both—Goethe built a great drawing collection on his mistakes.

Cutler

Is there a thread connecting Amy Cutler, Cui Fei, Jonah Groeneboer, and Chiharu Shiota? Their weave catches added dimensions, female communities, private writing, and the viewer.

Cytter

Can video art mean more than a dark, empty room? The X-Initiative strands Keren Cytter, Luke Fowler, and Tris Vonna-Michell in Chelsea, while Aernout Mik shoots up eight floors of a museum on video.

Daguerre

The media in "The Dawn of Photography: French Daguerreotypes" and "Treasures of a Lost Art: Italian Manuscript Painting" have vanished, and neither one left copies. Must photographs and books come in multiple editions to feel modern?

Dalí

Salvador Dalí may not top everyone's list of modern artists, but he played one to the hilt. Does that make his art perfect for Hollywood, with "Dalí and Film"?

"Barcelona and Modernity: From Gaudí to Dalí" and Spanish Painting from "El Greco to Picasso" both deserve the name "From Picasso to Picasso." But can Barcelona or the Spanish mind really explain an artist like Salvador Dalí?

Could André Breton get enough sex? With "Surrealism: Desire Unbound" and Salvador Dalí the Met allows Breton's movement plenty of desire, but too small a revolution and not nearly enough madness.

Dalton

Can the system still work for artists, and who gets to laugh when it does not? Jennifer Dalton and William Powhida make it hard to cut "#class."

Does Chelsea's massive fall opening amount to an entertainment event or a model for museums of contemporary art? In 2006, artists could easily grow cynical or messianic, including Jennifer Dalton, Barnaby Furnas, and Matthew Ritchie.

Danto

Are Auguste Rodin's twisting bodies and multiple casts more like variations on a theme or Xerox copies? Arthur C. Danto, Nelson A. Goodman, and Rosalind E. Krauss—as critics and philosophers—each tackle the originality of the avant-garde.

Arthur C. Danto wants to approach art without the biases of his own time. Is he wrong to draw conclusions from hypothetical art, or is that what artists themselves do every day?

Imagine Immanuel Kant writing weekly reviews for ordinary readers? Rare among philosophers, Arthur C. Danto loves art and says so—enough to take his time getting to artists.

When Joseph Masheck collects his Texts on (Texts on) Art, has art and criticism given way to an obsessive chain of influence? Not when Marcel Duchamp, Ad Reinhardt, Andy Warhol, Arthur C. Danto, and others embraced the dangers.

Should artists approaching "The Art of 9/11" feel angry, guilty, or both? Arthur C. Danto curates a measured response, and Chang-Jin Lee offers the comforts of a "Homeland Security Garden," but anger wells up with "A Knock at the Door. . . .

Arthur C. Danto calls his essay on Peter Fischli and David Weiss "The Artist as Prime Mover." Why, then, do they, Andy Goldsworthy, avaf, Alexander Lee, and so many others seem intent on trashing the gallery?

Arthur C. Danto cut his philosophical teeth on Warhol's Brillo boxes. Did Andy Warhol decline from agent provocateur into celebrity, or was he asking for it all along?

Will Arthur C. Danto find that his exploration of art without definitions takes him to a definition of art? Neo-conservatives are already all-too-fond of definitions and limits.

May I also give Arthur C. Danto special acknowledgment? In a preface to this Web site, I take my online aims out of hiding and into J.-B.-C. Corot's landscape.

David

Did Neoclassicism, Romanticism, and Modernism make up a single revolution? Drawings follow Jacques-Louis David, Théodore Chassériau, Théodore Géricault, Eugène Delacroix, and revolutionary France, decades before Pierre-Auguste Renoir paints fashion at full length.

B. Davis

Does art need a post-critical theory? Ben Davis and Johanna Drucker find art, like that of Gregory Crewdson, in complicity with the culture industry—and loving it.

S. Davis

Can one locate the origins of modern art in something other than painting? Georges Braque and Pablo Picasso may not have discovered Cubism in film, but Henri Matisse sure knew textiles, and Stuart Davis literally drew on New York.

How did Picasso get to America without leaving Europe? "Picasso and American Art" traces his influence on Stuart Davis, Arshile Gorky, Jackson Pollock, Willem de Kooning, Jasper Johns, and others.

Dean

"They are amazing," writes John Ashbery in his poem "Some Trees." How can still life from Ellen Altfest, an actual dead tree from Anya Gallaccio, and video by Tacita Dean reach for amazement?

What is left if blockbusters are just business as usual, and videos by Tacita Dean become tributes to artists who have passed away? A lot, and the "Best of 2012" is all over the map.

de Beer

What terrors lurk in that dark house, and whose desires draw one into video? Sue de Beer shapes the scenes from "Black Sun" twice, on screen and as installation, and her women ask viewers, too, to take risks.

When artists bring death to the style pages, have they created a fourth-wave feminism? A slippery slope to suicide haunts video by Sue de Beer, paintings by Rachel Howard, and a sell-out by Sam Taylor-Wood.

DeFeo

Was there more to Jay DeFeo than The Rose? Maybe so, as a kind of lifelong "Sinister Pop."

Degas

One of the most original artists of his time carefully bought and arranged hundreds of works from the past. For Edgar Degas as collector, what was the connection?

John Singer Sargent could do anything. So you may want to say after seeing his watercolors or "The Impressionist Line," drawings from the Clark Institute from Edgar Degas to Henri de Toulouse-Lautrec, but what exactly could he do?

de Hooch

Did Pieter de Hooch and Jan Vermeer see the same street in Delft? In "Vermeer and the Delft School," the art of painting takes on a city's dreams.

Deitch

In choosing Jeffrey Deitch as director, has LA MOCA put a fox in charge of the henhouse? I ask nine New York dealers, including Paula Cooper, Andrea Rosen, and Elizabeth Dee.

Delacroix

Did Neoclassicism, Romanticism, and Modernism make up a single revolution? Drawings follow Jacques-Louis David, Théodore Géricault, Théodore Chassériau, Eugène Delacroix, and revolutionary France, decades before Pierre-Auguste Renoir paints fashion at full length.

Delvoye

How long will New York look to the sky at Ground Zero? Outdoor installations in 2003 from Wim Delvoye, the Socrates Sculpture Park, and "Between the Bridges" have one reimagining the ground below.

Does the Chelsea gallery scene know where the bodies are bodied? Wim Delvoye, Tracey Emin, Gary Hill, Daniel Rozin, and Sam Taylor-Wood may not get real, but they do get physical.

de Maria

When Manhattan Island gets an island of its own, should one call it a site, a nonsite, or gentrification? With the assistance of Nancy Holt, Floating Island makes a provocative addition to a suitably systematic and entropic Robert Smithson retrospective—and a striking contrast to New York earth art by Walter de Maria, while emerging artists "Make It Now."

How did so much earth and the dark corners of New York streets get inside? Michael Elmgreen and Ingar Dragset create an underground End Station, Peter Wegner a paper labyrinth, and Mike Bouchet a pungent alternative to Walter de Maria.

Demand

Thomas Demand, Julie Blackmon, Clark and Pougnaud, Benjamin Fink, and Alex Prager make photography at once domestic and fantastic. Can anyone tell what they create, what they stage, what they find, and what they manipulate?

de Montebello

Did museums create the whole idea of originality? Alan Wallach traces the modern museum to a shift from plaster casts, while "The Philippe de Montebello Years" gives acquisitions the look of gift-shop reproductions.

Derrida

Faced with the "truth in painting," it is hard to avoid challenging, deriding, misusing, or plain stealing from Jacques Derrida. My most explicit theft is a dialog about Brancusi's sculpture.

It is hard to do without what Jacques Derrida called "erasure" faced with a Warhol silk screen. What happens when a man with a paintbrush or a woman with a gun try erasing Warhol?

Thanks to Jacques Derrida, a gorgeous chain of voices surrounds two enigmatic shoes. Are they and their painter, Vincent van Gogh, really two of a kind?

Can you name an even more difficult writer? I know several, but Jacques Lacan makes more sense to me in light of a response by Jacques Derrida to his essay on Poe.

Is Jacques Derrida (or Marx or Freud) a secular Jew? I can answer only for myself.

"Word to Word" invokes Jacques Derrida and his concept of philosophy as a kind of writing. What remains of writing and art alike as all-too-physical gestures?

Dewing

Nardo de Cione's great Madonna shares a museum with decorative portraits by Thomas Wilmer Dewing. Must art always worship women?

Dial

Is the personal or political blowing off the Gulf? Thornton Dial, Carlos Amorales, Yoan Capote, and Deborah Luster look past the American South to murder, exile, and community.

Diao

Must art as text always mean the impersonality of Joseph Kosuth? For Mickey Smith it means blood money, for R. Luke DuBois it means American politics, and for David Diao it means a life in painting.

di Cosimo

Can art from Toledo means more than El Greco? From Ohio, the Toledo Museum shows art history's grappling with humanity and nature in such figures as El Greco, Piero di Cosimo, and Jacopo Bassano, while Spain and St. John the Divine set aside "Time to Hope."

Diehl

When people talk about art after the end of art, do they mean that conceptual art has outlived the art object? Edward Winkleman, Catherine Spaeth, Carol Diehl, and "The Shallow Curator" make the virtual case against the anti-esthetic.

Diller Scofidio + Renfro

With the cantilevered Institute for Contemporary Arts in Boston, Diller Scofidio + Renfro let a museum take flight toward the harbor. Do they make Mark Bradford, William Cordova, and Robin Rhode young and old models for contemporary art—or just another sacrifice to trendy art and architecture?

Will the High Line preserve an overgrowth of wild flowers and urban history, with sculpture by Sarah Sze, or will it tower over Chelsea as one more dark, utopian vision? Diller Scofidio + Renfro, in association with Field Operations and with photographs by Joel Sternfeld, offer a look down upon the art world.

Can the Museum of American Folk Art be saved? Michael Kimmelman and others speak out, as Diller Scofidio + Renfro and MOMA plan to demolish the Tod Williams and Billie Tsien architecture for yet another expansion.

Should one trace motion in painting and new media to illusion, vision, or physical sensation? Daniel Rozin looks in the mirror, Michael Betancourt in pop psychology, Diller Scofidio + Renfro at the spy camera, and Peter Paul Rubens into his own heart.

Dijkstra

Zwelethu Mthethwa confronts African migrant labor, while Rineke Dijkstra cherishes children on the verge of self-discovery. What, then, makes their photography so ruthless?

Dion

How can science and art intersect, and, if they cannot, will opposites attract? Mark Dion, "Produced at Eyebeam 2005," Michal Rovner, Jessica Bronson, and Jacob van Ruisdael feel the attraction.

Can a museum dedicated to modernity become a custodian of the past? Jed Perl thinks so, but Mark Dion literally digs up the dirt on the Museum of Modern Art.

Must big gestures be macho and empty installations be empty of meaning? David Brooks (with help from Mark Dion), Allyson Vieira, and John von Bergen see Minimalism as urban history.

Diorio

Is it painting or photography, staged or observed? Ron Diorio, Gregory Crewdson, Anne Hardy, Sherry Karver, and E. E. Smith all have one guessing.

di Suvero

Anish Kapoor likes dark interiors and sweeping curves, Mark di Suvero builds wide-open towers, and Joel Shapiro started small, spare, and evocative. Do any of them deserve the label post-Minimalism?

Has summer sculpture gone for permanence? New York finds safety in Mark di Suvero, Ai Weiwei, Jaume Plensa, and "VISTA."

Is there any art left in Soho? I offer a light, off-the-cuff spring 1997 tour, with the most space to Elizabeth Murray, Mark Tansey, and Mark di Suvero—whose latest installation really knows how to use space.

Dix

How German was German Expressionism? With Otto Dix, "German Expressionism: The Graphic Impulse" aims to shift the center of Modernism from Paris.

Djurberg

With Nathalie Djurberg, Bill Henson, Judith Eisler, and Nan Goldin, art gets painfully explicit about sex, drugs, and rock and roll. So why do their human actors vanish so easily into forests, fairy tales, claymation, the blur of a picture tube, or death?

When women artists play against stereotype, are they getting hysterical? Nathalie Djurberg, Zoe Beloff, Mika Rottenberg, Carolee Schneeman, and Karen Yasinsky improve on Freud's studies in hysteria.

Doeringer

Can criticism cross over into art—or conceptual art into criticism? Lucy Lippard charts six years in the emergence of conceptual art, while Eric Doeringer would like to remake it.

Doisneau

Whose life is this anyway? Robert Doisneau, Neo Rauch, and Amy Bennett all have deceptively traditional, penetrating views of realism, and their tales unfold against a complex world, but they bring one on intimate terms with the human comedy.

Dolmanisth/Masters

Art can carry on after 9/11, but can it return to normal? A group show seeks sincerity in "Extreme Existence" while, over in Brooklyn, Karen Dolmanisth and Deborah Masters mix ritual and performance, and Bob and Roberta Smith offer an Art Amnesty.

Donaldson

When photography meets abstraction, does the camera have designs on the viewer? Peter Halley haunts mixed media from Rory Donaldson, Lansing-Dreiden, and Raha Raissnia.

Donatello

Did the Renaissance in Italy rediscover the individual, in profile and in the round? "The Renaissance Portrait" moves from Donatello to Giovanni Bellini and from heads of states to a wider world.

Does fine art sound elitist compared to popular culture? With Jean Poyet and Donatello, the Renaissance has an interchange between "high" and "low."

Donovan

Is it still magic if the magician gives away the trick? Tara Donovan makes her materials shimmer, but also plain for anyone to see.

Dossi

Do Dosso Dossi, David Salle, and Julião Sarmento all spin postmodern allegories? Something funny happens to fables without a subtext.

Douglas

Can political art be numbingly obvious and obscure at the same time? Emory Douglas, Claire Fontaine, Hans Haacke, and Artur Zmijewski give it their best shot.

Dove

The Whitney puts up scaffolding for some serious remodeling, just in time to display Arthur Dove, Andrew Wyeth, and a new look at its permanent collection. Is the museum getting back to America's roots or retreating into the bunker?

Draeger

From Minimalism to installation art, how did art get into this mess? With Ugo Rondinone, Martin Boyce, Christoph Draeger, and David Byrne, the star of the show has departed, leaving visitors to rattle around a cluttered but still empty interior.

Dragset

How did so much earth and the dark corners of New York streets get inside? Michael Elmgreen and Ingar Dragset create an underground End Station, Peter Wegner a paper labyrinth, and Mike Bouchet a pungent alternative to Walter de Maria, while emerging artists "Make It Now."

You call this a monument? Ed Ruscha traces the course of empire and Thomas Hirschhorn a world in ruins, while "Monuments for the USA," featuring Michael Elmgreen and Ingar Dragset among so many others, seeks a nation worth remembering.

Drew

At the end of 1996, did "in" New Yorkers still never travel north of 14th Street? I check out the new Chelsea galleries and dear old 57th Street, with the most space to Christian Haub, Garry Hill, Ellsworth Kelly, Jodi Manasevit, Sue Williams, and Leonardo Drew.

Is anything left of Modernism's daring except nudity and nostalgia? In the cold winter of 2001, I take a quick gallery tour, with most space to Leonardo Drew, Nan Goldin, Robert Longo, and Lisa Yuskavage, who also has a rather early retrospective.

Drucker

Does art need a post-critical theory? Johanna Drucker and Ben Davis find art, like that of Gregory Crewdson, in complicity with the culture industry—and loving it.

DuBois

Must art as text always mean the impersonality of Joseph Kosuth? For Mickey Smith it means blood money, for R. Luke DuBois it means American politics, and for David Diao it means a life in painting.

One can trace a magnificent history of the Renaissance, from its emergence with Duccio to its triumph with Dürer. But did even these artists always travel in straight lines?

These days artists and celebrities can become famous for their passing fame. Cimabue got there first, before Giotto, however—or was it Duccio?

Were the 1300s a lost century or the missing link from Giotto and Duccio? Bartolo di Fredi finds his way to the Renaissance.

Duchamp

A survey of "Dada" spans two doors, six cities, and hundreds of objects. Did Marcel Duchamp, May Ray, and others rebel against the very idea of art or engender all of art to come?

When Joseph Masheck collects his Texts on (Texts on) Art, has art and criticism given way to an obsessive chain of influence? Not when Marcel Duchamp, Ad Reinhardt, Andy Warhol, Arthur C. Danto, and others embraced the dangers.

What if a urinal entered the museum? Hypothetical art sounds like a contradiction in terms, but like Charles Ray, Yoko Ono, and Marcel Duchamp, artists imagine it every day.

Mike Bidlo creates emblems of the postmodern museum, like his turning Marcel Duchamp into bathroom wallpaper, alongside Tom Merrick's inflatable green dinosaur and Céleste Boursier-Mougenot's bird house. Do these look any different, now that MOMA has bought P.S. 1 lock, stock, and toilet?

Dumas

When political art goes wrong, it can get too didactic or too personal. With Marlene Dumas, "The Labyrinth Wall," and Emily Jacir, can it ever be both at once?

Durand

Up on the latest gossip from Artforum? Money talks louder than art yet again, through the UBS Collection and the sale of an Asher B. Durand.

Durant

As plans for culture at Ground Zero stagnate, can political art respond? The backlash definitely is setting in, with exhibitions of the key architects, plus Luc Tuymans, Krzysztof Wodiczko, and Sam Durant.

You call this a monument? Ed Ruscha traces the course of empire and Thomas Hirschhorn a world in ruins, while "Monuments for the USA," featuring Sam Durant among so many others, seeks a nation worth remembering.

One can trace a magnificent history of the Renaissance, from its emergence with Duccio to its triumph with Albrecht Dürer. But did even these artists always travel in straight lines?

In The Tribute Money and in a young man, does Michelangelo see a growing mastery or a choice? He finds them both in "Dürer to de Kooning: 100 Master Drawings from Munich" and "From Mantegna to Matisse: Master Drawings from the Courtauld Gallery."

Still more names!

jhaber@haberarts.com