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Fort Marion and Beyond: Native American Ledger Drawings, 1865-1900 is an exhilarating presentation of nineteenth century drawings that illuminate an essential and complex piece of American art and history. The exhibition features over one hundred Plains Ledger drawings created by Arapaho, Cheyenne, Hidatsa, Kiowa, and Lakota warrior artists that testify to the power of the image both in its making and in its capacity to speak to the depths of the human spirit.

The edges of EJ Hauser paintings are mysterious places. Things occur on the periphery that one doesn’t expect. Disjunctions in the system—the perceived order of the system—unsettle the composition. Those edges push in on the networks of marks that connect across the canvas, and this compression increases the force of visual impact.

“What do I know? I’m not an art critic,” says Patrick Marber, the playwright and director. “But I wouldn’t put it on my wall.”

Jordan Seavey’s first major New York production came easily enough. “All I had to do,” he recalled telling a friend at the time, “was rip off my skin.”

Making a mark upon the world can be seen as an act of hubris or a frank recognition of the limits of unique inscription, depending upon one’s philosophical inclinations. Simon Hantaï (1922–2008) realized the latter in his painting after having disproven to himself the moral efficacy of the former.