Louise Lawler at Metro Pictures

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It's lights out. The big sleep, render art in some purgatory, between the ghosts of artistic mythology, and their cynical corpse: "they are but objects." Render an inkblot: whether you see spirit or corpse depends on your personal faith in an afterlife. There are two types of art person, and the afterlife is a dividing idea of whether art's sacrificial Christ-like MEANING have intrinsic value/spiritual uplift to a culture, or whether it's just a story told for comfort against a great yawning cold. I.e. What you see in the shadows. An inkblot.

Night at the Museum would show that, at least culturally, we believe in some form of afterlife. Ben Stiller gesticulates. 

“Play” at Tanya Leighton

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By bringing the others under Cesarco's distancing, they too have their discrepancy become a loss. The mismatched image/text of a Baldessari become numb, a Louise Lawler photograph no longer feels critical but sentimental, and Steinbach's rhetorical question floats with lost meaning, everything like dark ships passing in the night.

Group Show at Sprüth Magers

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The Sherman tank was most numerous for the United States proving to be reliable and mobile. Despite being outclassed by German mediums and heavy, Sherman was cheaper to produce and available in greater numbers. Thousands were distributed, stressing reliability, ease of production, durability, standardization of parts and ammunition in a limited number of variants, along with moderate size and weight. These factors, combined with Sherman's then-superior armament, outclassed other's and Sherman went on to be produced in large numbers, spearheaded by the Western alliance. The relative ease of production allowed huge numbers of Sherman to be manufactured, and significant investment allowed returning service. These factors combined to give the American numerical superiority. Despite its deficiencies to other superior German as well as other American tanks, Sherman won the war through its adaptation to modernization techniques.