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"Contributed by David Rhodes / In Peter Bradley’s third solo exhibition with Karma, all the paintings are from the previous 12 months, ranging in size from 36 inches square to 104 x 82 inches. They feature a thrilling abundance of color and paint, reaching the senses of both sight and touch. The regularity of the dimensions and emphasis on the square to rectangle format sharpens the comparative extremes within each painting. Lean, empty areas sometimes transition slowly, sometimes abruptly. Anomalous space – that is, pictorial space played off against real surface, canvas and paint – is always synchronous and flowing."

"Contributed by Bill Arning / Museums and theaters are hard-pressed to introduce younger audiences to canonical works whose titles contain the word “rape.” Art history, drawn largely from the Bible and Greco-Roman mythology, is filled with images far more disturbing than most contemporary films. Renaissance works, for example, depict the Massacre of the Innocents: screaming infants being slaughtered in sprawling spectacles. Such works were intended to bring scripture vividly to life for largely illiterate audiences while satisfying the appetite for grand drama before cinema. Today, however, the digital world censors language in ways that often flatten historical nuance. Social-media algorithms routinely block “rape,” making it increasingly difficult to illuminate works such as Benjamin Britten’s opera The Rape of Lucretia, which accords the heroine profound dignity and moral courage. Contemporary audiences are shielded not only from discomfiting language but also from the complicated history it describes."

"Contributed by Jonathan Stevenson / The painter Nora Griffin, nonpareil chronicler of New York City, grew up in Noho as her father George conjured, as she puts it, “a sweeter version of R. Crumb’s debased Zap comix” and helped pave her way as an artist. Fierman’s current show “Time Café,” named for the restaurant that anchored the neighborhood, galvanically pairs the two, complementing Nora’s shrewdly lyrical paintings with George’s quizzical drawings, flip-books, and avant-garde cartoons. The result is a deeply plumbed sampling of 1970s and ‘80s New York and what it wrought, poised between nostalgic commemoration and acknowledged perpetuity – a duality reflected in Nora’s 2026 portrait of her father circa 1976, one profile looking reflective and the other anticipatory. Ultimately, both artists understand that any desperation in extending sentimentality to the city is likely unwarranted because its susceptibility to discomfitingly rapid change – the “New York minute” – is largely a myth, its past firmly embedded and there to see. Their mission, undertaken exuberantly, is to record it in context."

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