Alan Reid at Nicelle Beauchene Gallery

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Painting converts to information, into design. Into sign systems. We no longer paint landscapes we paint the superhighway of adverts. This makes sense. We look at more iPads than we do trees. The iPad is more meaningful than a tree. We relate to the world as icons, fonts, swipes - this the grammar of our meaning. "We understand them implicitly, terrifyingly." And these prose poem.

informative painting: Math Bass

Gordon Hall at DOCUMENT

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The part, piece, glint is inherently evocative. It projects its missing part liked a dotted shadow, which we fill in. Everything here ready for something else. You stop the artwork from completing meaning so that it forever self renew, remain ungraspable, await its performance again.

Faith Wilding at Bortolami

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Wilding is precursor is this suggestive era, to our biomorphic and questionable lumps. The minimalist mantra no longer holds up. It is no longer "'what you see is what you see,' because what you see is sometimes sexually confusing, leather seats look like the lap of a tanned naked man." Think Nairy Baghramian, Lucy Bull, Ron Nagle, everyone using the word "bodily." The pareidolic. "a meaningful interpretation on a nebulous stimulus." You even start to see other artist in them."Surrealism works for today as art must be a fount eternal, and so the point today is to overlay as much as information as possible, until it blurs, slips, make inkblots"

Nairy Baghramian at Museo Tamayo, Lucy Bull at High Art

Past: Alex Hubbard

"it's become important that images are "striking." They look powerful on walls or bus stops. Big colorful bonanzas about an inch deep. This is the language of advertising. Painting, it turns out, is the advertisement that advertises itself. Self-advertisement in painting. It's what artists are becoming wise to. You could strap any tagline from Coca-Cola onto these paintings and it would make sense. It's just now the product name is scrawled on the back."

Read full: Alex Hubbard at Regen Projects, Alex Hubbard at House of Gaga (1), Alex Hubbard at House of Gaga (2)

Past: Gene Beery

"The trueness of statements... becomes if not beside the point, a thing to torture. Not the treachery of images, but the treachery of saying anything at all. "

"Beery toys with this functionality," "words can perform in a way that art doesn't, a transmission between people, infiltrative, allowing its horsemen direct access to your head, to say whatever it wants, and already there, words standing around inside you. .. no wonder the surrealists and conceptualists loved Beery."

"a slight haywire version sparking in the walls, threatening to burn the whole thing, meaning, down.

Gene Beery at Shoot the Lobster, Gene Beery at Fri Art

 Past: Florian Pumhösl

"... which is then treated to a Kubrickian austerity, totemized as the monoliths, allowing the surrounding emptiness of space to lend all the pressure that the gallery symbolically can"

Full: Florian Pumhösl at Galerie Buchholz, Florian Pumhösl at Meyer Kainer

Past: Alexandra Noel

"... a psychic mess, more pollution than collage, tinged with repression. The shadow of a plane is the specter haunting here, but throughout is an "offness" that is more motion sickness than fear. ...  Noel's light too, toxic, the haze as permanent fixture, everything feeling smogged, poisoned. Pollution as repression, spectacular sunsets, and black oil beneath feet. The 9/11 in everyone's bedroom."

Full: Alexandra Noel at Freedman Fitzpatrick, Atlantis, Alexandra Noel at Antenna Space