Accrochage, a French term loosely translated ‘hanging’, refers to the act of organizing various works of art currently available to a gallery.

Even within an initially inrelated array f objects, it is possible sometimes to discern formal, historical, thematic, or material similarities that one would not expect.

SETH EDENBAUM

The images in a pair of paintings from 1992 refer with skepticism and fondness to the ’60s, a time we now associate with violence and kitsch. The physicality of the paint itself revives the emotions that the images themselves can no longer carry; a respect for the desires that fed the period is allowed to remain.

JACKIE FERRARA

Done in 1972, 7 columns covered with cotton batting, one half of each resting on the floor, the other suspended from above, evoke both a post minimalist and figurative sensibility. Issues of serial form, of gravity and lightness, of physicality both actual and perceived, are explored in the context of a feminist formalism.

SENGA NENGUDI

Two spray-painted works on paper, enclosed in dry cleaner’s bags, relate directly to Nengudi’s last installation. Ambiguous in their meaning – a material of the domestic domain, the transparent blue plastic bags are imprinted with warnings of possible suffocation if used as toys – the veils de-materialize the paintings and produce subtle shifts of focus and color.

ANDREA ZITTEL

The painted areas of this ‘Carpet Furniture’ replace actual furnituree, yet allow for the same use in an unobstructed space. Displayed on the wall, the work mimics geometric paintings, while deriving its formal organization from actual functions.