Lynn Hershman Leeson at Vilma Gold

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CAD never explains why things are important but Hershmann should be paid attention to not for this exhibition but for her resurgence now showing in Dreamlands: her forecasting much of the renderstentialist video and robot art of today's youth. Skip these images and go watch a low quality online sample of her work Seduction of a Cyborg and then everything else and see all the foreshadowing of Moulton's mock techno-spiritual, Wolfson's sex robots, Atkins' authorial monologue and sound cuts, Rose's affective slippages, Steryl's anti-comedy, Cortright's digital Sherman-esque subject construction, James Richards affective collaging, etc. etc.  It's all there.

See too: Shana Moulton at Kunsthaus Glarus, Jordan Wolfson at David Zwirner, Rachel Rose at High Art, Ed Atkins at Serpentine Gallery, Petra Cortright at Société

“What We Know” at Roberta

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Nostalgia is powerful. Invoking a sentimentality for the past to manipulate present mood. Self-awareness of transience, ephemeral, and pre-accepted as coping mechanism, substituting the present as the past behind pink glass. It grows more and more to be tool of marketing, using feelings for what once was to purchase its salve in the present. Replacing the moribund today with a hind-sighted "golden-age." Pre-yellowed to remove the jagged sharpness of the new. Nostalgia is a terrifying hole, hard to discern from a trap, and this show is like full of it.

See too:  Moyra Davey at Institute of Contemporary Art, Daniel Dewar and Grégory Gicquel at Micheline Szwajcer, Group Show at Neue Alte Brücke