Energy And Art Go Where They Will.

Ofili Is Still A Champion. It Would Be A Huge Mistake To Think Otherwise.

Artschwager's Art Always Involves Looking Closely At Surfaces, Questions What An Object Is, Wants To Make You Forget The Name Of The Thing You're Looking At So That It Might Mushroom In Your Mind Into Something That Triggers Unexpected Infinities.

If Only We Could Persuade Galleries To Observe A Fallow Period In Which, For Two Months Every Other Year, New And Old Works Of Art Could Be Sold In Back Rooms And All Main Galleries Would Be Devoted To Revisiting Shows Gone By.

The Debut Show, “second Lives: Remixing The Ordinary,” Is Supposed To Be About How Artists Reuse Humble Or Unusual Materials. There’s Good Work Here, But Much Of What’s On View Is Actually More About Obsession And Repetition: A Couch Made Out Of 3,500 Quarters, A Necklace Composed Of 100 Handgun Triggers. The Building, Too, Seems Caught Between Wanting To Be An Object Of Decorative Delectation And Making An Architectural Statement.

Chris Ofili's Suave, Stippled, Visually Tricked-out Paintings Of The Nineties, With Their Allover Fields Of Shimmering Dots And Clumps Of Dung, Are Like Cave Paintings Of Modern Life. They Crackle With Optical Cockiness, Love, And Massive Amounts Of Painterly Mojo.