How many times have we rushed past the small non-commercial Hudson Guild Gallery, in a public housing project in Chelsea, on our way to some big-bucks exhibition? It now has a show on the theme of homelessness and housing, with works by well-known conceptual as well as unknown artists.

The Paula Cooper Gallery has a terrific exhibition of works by the conceptual sculptor Luciano Fabro (1936–2007), from May 6th to July 28th, at both 534 and 521 West 21st Street. It includes a couple of large pieces as well as a number of remarkable painting-sized reliefs titled “Computers.”

Suzaan Boettger’s long awaited Inside the Spiral: The Passions of Robert Smithson constitutes an epitome of probing inquiry into a major artist’s “life and work,” as many old biographies said.

A toughie, but monumental: this book takes substantial texts, from 1912 to 1935, of an idiosyncratically great early modernist German art historian-critic, Carl Einstein—few of whose writings have been accessible to Anglophone artists or scholars—and translates them in developmental order, rendering them both accessible and comprehensible.

Dorothea Rockburne was a mainstay of Postminialism, which was fine when people knew what Minimalism meant. The title of her new exhibition, of drawings, relief paintings and sculptures of the past two years, alludes partly to Giotto’s Arena Chapel frescoes, and partly to the knot as a modern thought motif; the latter interests her mathematically, and me art-theoretically.

Goya sees deeply into our species, but he’s too creative for cynicism.

A certain 18th–century British aesthetician of classical ilk complained about the randomness of the stars, saying that the night sky could have been more beautiful had the stars been arranged in geometric patterns. The 19th–century logician Boole, a pioneer in mathematical probability (and digital computing), had more respect for the layout of the stars as by no means happenstance.