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Walter De Maria (1935–2013) almost never gave interviews. In a rare one from 1972, he mentioned that he had conceived twenty-four three-dimensional

Curated by writer Raphael Rubinstein and artist Heather Bause Rubinstein (whose labyrinthine fabric painting City as Shape (2019) is included in the show), Schema takes up the question of how artists have employed a broad cross-section of diagrammatic forms, from the map and the mandala to the isarithm and the ideogram.

Uniting prints and drawings by experimental composer John Cage as well as jazz pianist (and Houston native) Jason Moran, this cross-generational exhibition from two musical innovators-cum-visual artists is mutually enlightening, if counterintuitive. Cage, an influential proponent of chance and indeterminacy, was notoriously hostile to improvisational practices (e.g., jazz) for their tendency to fall back on inherently clichéd and ego-driven expressionist patterns. Yet his turn to printmaking in the late 1970s—on the urging of Kathan Brown, the founder of San Francisco’s Crown Point Press�...

FEW TITLES ENCAPSULATE an exhibition’s argument as succinctly as “by Alison Knowles: A Retrospective (1960–2022).” Curator Karen Moss borrows that “by” from a slim volume of the same name, a collection of the artist’s compositions issued through the “Great Bear” pamphlet series of Something Else Press in 1965. The preposition’s pliability is the point. Most obviously, “by” denotes authorship, as in a corpus of texts written by Alison Knowles, yet it also suggests facilitation, a process brought about by means of Alison Knowles, or proximity, i.e., close by Alison Knowle...

As the art world lavished praise on the Museum of Fine Arts for its bold plans, employees tell a very different story.