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Contents Letter from the Editors Invulnerable Vulnerabilities: Tala Madani and Nathaniel Mellors Discuss Life and Art in the Time of the Virus Keeping it Alive: Oscar Murillo by Peter Benson Miller Dana Schutz: Weathering the Storm by Lexington Davis NEWCOSTUME Episode I: Artisanal Apparel A Column by Matthew Linde Jana Euler: Contextual Painting in Times of Global Groundlessness by Ingrid Luquet-Gad GO, DADDY! by Issy Wood COMPOSITIONAL MACHINES Seeking an endgame or a new beginning, Avery Singer explores what it means to dream of painting without the hand by Franklin Melendez Emily Mae Smith: A Broom of One’s Own by Natasha Hoare THE CURATORIAL GAZE Episode I: An Introduction A Column by Pierre Bal-Blanc

Reviews 113

Donald Judd MoMA, New York / Rochelle Goldberg Miguel Abreu Gallery, New York / Liam Gillick Casey Kaplan Gallery, New York / Ann Greene Kelly ICA, Los Angeles / Laura Owens House of Gaga, Mexico City / Cerith Wyn Evans White Cube, London / Vivian Suter Camden Arts Centre, London / Sarah Lucas Sadie Coles HQ, London / Jeremy Shaw Centre Pompidou, Paris / Sean Landers The Consortium Museum, Dijon / “MECARÕ. Amazonia in the Petitgas Collection” MO.CO. Montpellier Contemporain / Nick Mauss Kunsthalle Basel / Wolfgang Tillmans Wiels, Brussels / Kris Martin S.M.A.K, Ghent / Ragna Bley & Inger Ekdahl Malmö Konsthall / Jenna Sutela Kunsthall Trondheim, Norway / Lygia Clark Guggenheim Museum, Bilbao / Frida Orupabo Gavin Brown’s enterprise, Sant’Andrea de Scaphis, Rome