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Kiran Bath is a writer based in New York. Her debut collection of poetry, INSTRUCTIONS FOR BANNO, will be released this summer with Kelsey Street Press.

I visited artist Loie Hollowell at her bright Queens studio on a bristlingly cold February day. We were meeting to discuss her ten-year survey at the Aldrich Contemporary Art Museum in Ridgefield, CT, and her solo exhibition of works on paper at Pace Gallery in Chelsea.

Lin’s latest film confronts the intergenerational psyche shaped by China’s one-child policy.

Osmosis’s sculptures are cobbled of fractured analogies for how materially removed we have become from the object world’s formerly resistant, concrete reality, and how the artist as scavenger of such a phenomenological ruin can imagine their version of what might be called a funky genre stability. Despite his works seeming at first to be composed of whimsical and fleeting non sequiturs, Osmosis is a profoundly considerate artist who exerts an uncanny capacity to make his ostensibly ersatz sculptures stick in one’s poetic recesses as substantially specific objects.

Some of the looping films in the exhibition make the Animal Farm connection obvious—the first stop off the elevator shows a rooster greeting the dawn in silence. None of the films, in fact, use sound. The projector sits deep in a narrow cavity next to the elevator shaft so that you are tempted to look back at it, but at the same time as you are drawn to the rooster on the screen it’s difficult not to stand in the way of the projector’s beam.