“To feel” and “to touch” handle massive vistas of meaning: the words traverse matter and emotion simultaneously and paradoxically. With such sweeping responsibility—the multitudes of expression they’re required to transmit—comes the necessity for explanation and qualification. As singularities, or when generically articulated, touch can feel numb.

Refinement can be crude.

1943, the year Roosevelt, Churchill, and Stalin met in Tehran to discuss their war strategy, Ad Reinhardt made a deep blue and green oil painting that is the earliest work in this Zwirner Gallery exhibition.

The interviews in Eight Begin are written as monologues in the relaxed confidence of a friend—most notably with Sally Hazelet Drummond, who discloses complete vulnerability before her listener.

The anthropologist, author, and Columbia University professor Michael Taussig is best known for his book My Cocaine Museum (2004) and his many decades living, on and off, in the Putumayo region of Colombia.

When I heard by way of a phone call that a friend of mine had been trapped in her own home and raped by two strangers off the street, instantaneously all the violence in the world crashed into actuality.

Within the larynx “voice box” that manipulates pitch and volume are the vocal cords, which are abducted to breathe and adducted to speak, as well as the false vocal cords, the vestibular folds that we hear tremble in Tibetan throat singing or heavy metal growls.

Michael Berryhill’s paintings are brightly-colored, idiosyncratic, image-ambiguous oddities that have developed out of a consistent studio practice arching over two decades.

In his typically charming and laissez-faire manner, the artist Ron Gorchov, when asked to conduct a public presentation of his watercolor work within the container of his concurrent show at Lesley Heller Workspace, instead invited his friend Nathlie Provosty to spare him the preparation and engage in a conversation.

G.T. Pellizzi spent his formative years as an artist with the Bruce High Quality Foundation, of which he was a founding member, before venturing into his own distinct domain in 2011 with his first solo show at Y Gallery. On the occasion of Financial Times, his third solo show and first with Mary Boone Gallery (currently on view in the uptown location), Pellizzi met with Nathlie Provosty to talk about his life, his work, and the interwoven contructions of fantasy and reality.

The actors have forgotten. One of the women has forgotten her real name and maybe the rest of them have lost their’s too, as has he, and his friends.

Petrus Schaesberg was an upright man, whose presence was defined by a gentle nobility and love of art.