Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980–2008

ALBRIGHT-KNOX ART GALLERY
BUFFALO, NY
Through May 30
Curated by Douglas Dreishpoon

Employing motifs such as maps, architectural plans, and genealogical charts, Guillermo Kuitca makes borders and links—as well as their political and personal mediation—central to his practice. Miami is thus a fitting location to launch this touring midcareer survey, which traces the contours of the Argentinean artist’s oeuvre with some seventy drawings and paintings. One standout is Untitled, 1992 (on view for the first time in the United States), an arrangement of twenty child-size beds with road maps of Europe painted directly onto their mattresses—elegantly cleaving public and private.

— Lisa Turvey

Mark Bradford, A Truly Rich Man is One Whose Children Run Into His Arms When His Hands are Empty, 2008, mixed media collage on canvas, 102 x 144".

Mark Bradford

WEXNER CENTER FOR THE ARTS
COLUMBUS
Through August 15
Curated by Chistopher Bedford

An incisive archaeologist of the street, Mark Bradford is best known for his wall-size, often cartographic paintings incorporating the collage and décollage of scavenged urban detritus. This ten-year survey will foreground those works while highlighting significant new pieces in sculpture, film, and other media. The rough-hewn installation Pinocchio Is on Fire, 2010, for example, employs sound and mock interviews to unearth historical events and cultural phenomena that have affected the African-American community in Los Angeles. The accompanying catalogue includes essays by Robert Storr, Hilton Als, and the curator, among others.

— Suzanne Hudson

Eadweard Muybridge, Cannonballs and San Francisco Bay, Alcatraz Island, 1869, stereoscopic black-and-white photographs on studio card, 3 3/8 x 7".

"Helios: Eadweard Muybridge in a Time of Change”

CORCORAN GALLERY OF ART
WASHINGTON DC
Through July 18
Curated by Philip Brookman

Eadweard Muybridge’s fame rests largely on the 1887 publication and popular dissemination of Animal Locomotion, in which marvelously matter-of-fact images of men, women, children, horses, elephants, birds, and anything else he could wrangle into his studio are arranged in 781 sequential grids like frames in a film. That project has nearly eclipsed a career of experimentation and innovation that began in San Francisco twenty years earlier and involved virtually every sort of photographic subject, process, and format. This retrospective, the first devoted to the full range of Muybridge’s work, focuses new attention on his pioneering western landscapes, including unusually large-scale views of Yosemite and detailed panoramas of San Francisco, as well as the devices Muybridge invented to capture and project motion.

— Vince Aletti