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The challenge which the late Finn-Kelcey’s work posed to sex and gender roles in the 1970s and 80s seems quaint today. The brand of feminism archived in her studio self-portraits as a bull matador and a casino croupier has since both proclaimed total victory and continues to make a muted demand for parity. The exhibition’s sensitive display in local-art-centre retro exposes that project’s breakdown.

But making it ‘live’ again, as Finn-Kelcey’s performances once may have done is a different challenge. Snapshots and scripts of her 1976 durational gallery lock-in with a pair of magpies are simply no match for Beuys’ time with the coyote. That the art historian at whom this display is aimed cannot agree is the movement’s tragedy.


notes and notices are short and curt exhibition reviews. Read more:

France-Lise McGurn, Strawberry at Massimodecarlo ★☆☆☆☆

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McGurn has created the visual equivalent of elevator music.

Deimantas Narkevičus, The Fifer at Maureen Paley ★★☆☆☆

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In the age of the decolonial, this is as quaint as it is outmoded

Teewon Ahn and Ibrahim Meïté Sikely at Gianni Manhattan and P21 at Project Native Informant ★★★☆☆

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These works are as garish as they are fun to look at.

Entangled Pasts at The Royal Academy ★★☆☆☆

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Who could have thought that these mantras would turn into rote?

Yuki Nakayama, After the Rain at A.I. Gallery ★☆☆☆☆

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Can an installation be too site-specific?

RM, A Story Backwards at Auto Italia ★★☆☆☆

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Having forgotten what the ‘dramatic’ in art stands for, visual artists today too often mistake hacked theory for stage directions.

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