Two new art critics join the fold at Cultured, with Johanna Fateman reviewing Sanya Kantarovsky's first New York solo show since 2019, "Scarecrow," at Michael Werner Gallery's two Upper East Side locations. The exhibition features paintings, monotypes, and a glazed stoneware vase centered on Hera, a whippet belonging to artists Mark Dion and Dana Sherwood, alongside works like *Stage (Watteau)* that engage with historical painting. Mary Simpson covers Rosemarie Trockel's acerbic conceptualism, and Jeanette Bisschops reviews a posthumous exhibition of Chloe Dzubilo's intimate and irate drawings, "The Prince George Drawings," at Participant Inc., curated by Alex Fleming and Nia Nottage.
This article matters because it highlights three distinct contemporary exhibitions—Kantarovsky's melancholic, historically-inflected paintings, Trockel's sharp conceptual critique, and Dzubilo's raw, activist-driven drawings—showcasing the breadth of current artistic practice. The inclusion of Dzubilo's posthumous show, drawn from her time at an HIV/AIDS supportive housing site, underscores the ongoing relevance of art rooted in personal and political struggle, while the critical voices of Fateman, Simpson, and Bisschops offer fresh perspectives on these bodies of work.