In a self-published poem, “Painter of the Mind” (Bilboquet, Paris, 1923), theater anarchist Antonin Artaud characterized Swiss-German artist Paul Klee as a maker of “certain cosmic syntheses.”

Entering the vast Martha Graham Company studio space quietly, I slide into my customary seat on a church pew beneath arching windows. The dancers, warming up, stretch, torque, and twist, each in their own way. Inward gazes alternate with breath-pauses. Even after more than fifteen years’ observing and writing about the Graham corpus, I remain enthralled. 

Anish Kapoor continues to situate a corpus of “singular presences” among all manner of spaces in our quotidian world.

The knowing curatorial hands of Stephanie D’Alessandro and Stephen C. Pinson, with the assistance of research associate Micayla Bransfield, were in evidence as I entered Man Ray: When Objects Dream.