Ultimately, Monet-Mitchell: Dialogue feels conceptually forced, but it is rigorously disciplined in terms of color and scale, projecting a loose delicacy and grace that animates the Fondation Louis Vuitton with a lyrical intensity that speaks to me of joy.

Binding Surrealist automatism to workplace sabotage, the book raises issues for deliberation that benefit opportunities to review the premise of the life-as-art/art-as-luxury-lifestyle aspiration as nothing more than a consumerist enterprise equipped with cloaking theoretical elements that have artfully ducked anti-capitalist and anti-art critical postures. This fever-dream history of subversion as sex machine invites you into a contemplation of your intimate erotic life, put in relationship to its oppression.

Venet’s current show, 1961 & 1963: les origins at Ceysson & Bénétière Paris, puts him back into that post-Duchampian / Yves Klein context with early minimal works that ponder the power of black and the pull of gravity through an inter-disciplinarian methodology.

The exhibition Hypnose (Hypnosis), curated by Pascal Rousseau for the Musée d’arts in Nantes, is a chronicle both compelling and comical. Although submerged in a stream of spiritual consciousness tied to artistic principles of universal connection, the exhibition also flirts with certain kitsch clichés, most notably the iconic hypnotic-disc that by spiraling supposedly sucks suggestible cerveaux down a somnambulist whirlpool.

This eloquent book attempts to inaugurate a positive appraisal of what the author identifies as “positive barbarism.” However interesting the brutal aesthetics of sloppiness might be to a modern art historical exegesis, Brutal Aesthetics arrives at the grim doorstep of an offended world in the wake of endless uncouth brutalizations made by a mendacious macho American president.

Christo’s exhibition, situating art as a material process, presents a selection of his historic covered cases, all hidden behind a covered vitrine.