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John Lennon liked to joke that Yoko Ono was “the world’s most famous unknown artist.” Before she infamously “broke up the Beatles” (but not really), Ono built an internationally recognized career as an artist in the developing fields of Conceptual art, experimental film, and performance art. Unfairly famous then and now for all the wrong reasons, Ono’s long fought in her own humorously sly way for recognition, beginning with her self-staged 1971 “show” Museum of Modern (F)art, a performance piece in which she dreamed of a one-woman exhibition of her work at the Museum of Modern Art, New York. Now, more than 40 years later, the MoMA makes that dream come true with the exhibition Yoko Ono: One Woman Show, 1960–1971. Better late than never, this exhibition of the pre-Lennon and early-Lennon Ono establishes her not just as the world’s most famous unknown artist, but the most unfairly unknown one, too.
If Flannery O’Connor somehow birthed the love child of Sid Vicious, she might end up sounding like novelist Nell Zink. Equal parts Southern Gothic’s grotesquely twisted charm and punk and alternative music’s insiderish anti-establishmentism, Zink’s second novel Mislaid will disorient you until you let it delight you. Zink’s mix — which I’ll call Southern Gothic Punk — might be an acquired taste, but a taste well worth experiencing if only to break out of the contemporary rut of MFA-programed, sound-alike fiction that’s become the bubblegum pop of today’s literature.
More than 20 years ago, the sitcom Seinfeld went “meta” and joked that it was “a show about nothing.” But 20 years before George Costanza’s epiphany, artist Richard Tuttle was staging shows about nothing featuring works such as Wire Piece (detail shown above) — a piece of florist wire nailed at either end to a wall marked with a penciled line. But, as Jerry concludes, there’s “something” in that “nothing.” A new retrospective of Tuttle’s art at the Fabric Workshop and Museum in Philadelphia, Both/And: Richard Tuttle Print and Cloth, dives into the depths, and widths, of this difficultly philosophical, yet compellingly simple artist who takes the everyday nothings of line, paper, and cloth to create extraordinary statements about the need to be mindful of the artful world all around us.
Few business buzzphrases draw as much interest (and ire) as “disruptive innovation.”  Disrupt or die, the thinking goes. Old orders must make way for new. At the Barnes Foundation, home of Dr. Albert Barnes’ meticulously and idiosyncratically ordered collection of Impressionist and Post-Impressionist masterpieces left just so since his death in 1951, three artistic innovators aim at questioning and challenging Dr. Barnes’ old order.  Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things invites three award-winning, contemporary installation artists to disrupt the existing paradigm at the Barnes and assist us in seeing Dr. Barnes and his collection in a whole new way.