This summer, Midtown had a distinct case of Brazilian fever, and not just because of the flocks of soccer fans crowding local sports bars and tourists traps to watch the FIFA World Cup in Brazil.

Born and raised into a family of actors and theater professionals in Reykjavík, Iceland, Ragnar Kjartansson has been tightrope-walking between reality and performance for most of his life. It is therefore not by chance that many of his durational performances and video installations often explore and question the edge between fact and fiction.

I’ve always associated the work of Erwin Wurm with the transitory, the momentary, the moving. The most vital aspect of his practice was his fluid concept of sculpture and his documentation of this fluidity. Take, for instance, the series One-Minute Sculptures (1988-97), which brought his work to the attention of the broader public at the beginning of the ’90s. He posed, or instructed other people to pose, with everyday items—a man squeezed himself under a chair; another filled his mouth, ears, and eye sockets with markers and other office supplies.

A staircase emerging from a river of feces, ancient Egyptian myths engaging in sexual intercourse in a bathroom, the double-amputee actress, model, and sports pioneer Aimee Mullins cutting herself with a knife.

None of the Minus Objects look anything alike; they seem to add up to a group exhibition rather than a solo show. Of course, this was Pistoletto’s aim, to break the dogma of the uniformity of individual artistic style.