Question: Where are the bedrooms?

Answer: main level; the second is upstairs

This rustic cedar-shingled house was built in 1976 and updated within the last seven years. The interior is bright and cozy, with stained-glass windows and skylights throughout. Common areas are on an open plan, with a living area that has a pitched ceiling with skylights and a wall of glass facing the lake. Floors are a light-colored cherry, while most ceilings and walls are cedar paneled. The bathroom has a tub made from a hollowed-out cedar log. <hl> One bedroom is on the main level; the second is upstairs , set into a nook-like space with slanting walls and a skylight. <hl> Also upstairs is an office with peekaboo views of the downtown skyline.

This rustic cedar-shingled house was built in 1976 and updated within the last seven years. The interior is bright and cozy, with stained-glass windows and skylights throughout. Common areas are on an open plan, with a living area that has a pitched ceiling with skylights and a wall of glass facing the lake. Floors are a light-colored cherry, while most ceilings and walls are cedar paneled. The bathroom has a tub made from a hollowed-out cedar log. One bedroom is on the <hl> main level; the second is upstairs <hl>, set into a nook-like space with slanting walls and a skylight. Also upstairs is an office with peekaboo views of the downtown skyline.

One bedroom is on the <hl> main level; the second is upstairs <hl> , set into a nook-like space with slanting walls and a skylight.


Question: How old was the boy?

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

Answer: 15

<hl> A 15 -year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. <hl> Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

A <hl> 15 <hl>-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

A <hl> 15 <hl> -year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday.


Question: What sex was the 8-year-old?

Answer: girl

<hl> A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin <hl> , the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

A 15-year-old boy lured an 8-year-old <hl> girl <hl> into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.


Question: Where was a body hidden?

Answer: recycling bin

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in <hl> a recycling bin , the police said Tuesday. <hl> Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a <hl> recycling bin <hl>, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

a <hl> recycling bin <hl> , the police said Tuesday.


Question: Who is police chief in Santa Cruz?

Answer: Kevin Vogel

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. <hl> Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. <hl> The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief <hl> Kevin Vogel <hl> of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of murder.


Question: What was the boy suspected of?

Answer: murder

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. <hl> The boy was arrested on suspicion of murder . <hl>

A 15-year-old boy lured an 8-year-old girl into his apartment in Santa Cruz, Calif., and killed her before hiding her body in a recycling bin, the police said Tuesday. Chief Kevin Vogel of the Santa Cruz police said the girl, Madyson Middleton, went willingly into the apartment at the Tannery Arts Center, a housing complex for artists where they lived, and was probably dead before she was reported missing Sunday night, sparking a search by hundreds of volunteers. The suspect, whose name was not released because he is a juvenile, knew the victim, Chief Vogel said. The boy was arrested on suspicion of <hl> murder <hl>.

The boy was arrested on suspicion of <hl> murder <hl> .


Question: How old is Omar?

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

Answer: 27

<hl> “This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27 -year-old Colombia fan visiting Chile for the tournament <hl> . “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a <hl> 27 <hl>-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a <hl> 27 <hl> -year-old Colombia fan visiting Chile for the tournament


Question: Where did Omar go?

Answer: Chile

<hl> “This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. <hl> “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting <hl> Chile <hl> for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.


Question: Which nation was never eligible for a World Cup?

Answer: Venezuela

<hl> “This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. <hl> “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

“This is a mythology that <hl> Venezuela <hl> is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.


Question: Who beat Venezuela by a score of 11 unanswered points?

Answer: Argentina

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. <hl> In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. <hl> In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless <hl> Argentina <hl> side. In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier.


Question: What was the final score between Brazil and Venezuela?

Answer: 13-0

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. <hl> In 1999 and 2000, it lost to Brazil by a combined score of 13-0 in a Copa América match and a subsequent World Cup qualifier. <hl>

“This is a mythology that Venezuela is not good at soccer,” said Omar Pironel, a 27-year-old Colombia fan visiting Chile for the tournament. “We often struggle with them.” Before this year, Venezuela had only four wins in 55 games at the Copa América, and it is the only member of the South American confederation that has never qualified for a World Cup. In the 1975 Copa, it lost by 11-0 to a merciless Argentina side. In 1999 and 2000, it lost to Brazil by a combined score of <hl> 13-0 <hl> in a Copa América match and a subsequent World Cup qualifier.


Question: Where can an exhibition on Alberto Burri be seen?

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Answer: Guggenheim Museum

<hl> Guggenheim Museum : ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) <hl> This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

<hl> Guggenheim Museum <hl>: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

<hl> Guggenheim Museum <hl> : ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6)


Question: When can art be an important part of the promotional package?

Answer: if it behaves itself and sticks to the right script

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. <hl> Art, if it behaves itself and sticks to the right script , can be an important part of the promotional package. <hl> That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, <hl> if it behaves itself and sticks to the right script <hl>, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Art, <hl> if it behaves itself and sticks to the right script <hl> , can be an important part of the promotional package.


Question: How many photographers are featured in the Photo Poetics show?

Answer: ten photographers

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. <hl> the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. <hl> Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by <hl> ten photographers <hl> in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)


Question: When were Alberto Burri's prescient paintings created?

Answer: from the 1950s and early ‘60s

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) <hl> This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. <hl> Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings <hl> from the 1950s and early ‘60s <hl> — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)


Question: What happened when Joseph Stalin came to power?

Answer: art became government-dictated propaganda and its makers, often under threat, towed the line

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. <hl> When Joseph Stalin came to power art became government-dictated propaganda and its makers, often under threat, towed the line . <hl> Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

Guggenheim Museum: ‘Alberto Burri: The Trauma of Painting’ (through Jan. 6) This Italian artist’s prescient paintings from the 1950s and early ‘60s — in patched, burned and otherwise abused burlap, plastic or wood — form a lavish, beautiful and admirable, if sometimes monotonous retrospective at the Guggenheim. Unfortunately, he may also inaugurate a bane of current art: the use of found materials so inherently affecting — burlap is one — that they require little of the artist. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith) Guggenheim Museum: ‘Photo-Poetics: An Anthology’ (through March 23) Formally complex and expressively reserved, even hermetic. the work by ten photographers in this stimulating show has roots in Conceptualism and takes language, history and speculative thinking as its raw materials. Photographs are structured with the equivalent of poetry’s metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Cotter) ★ Jewish Museum: ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ (through Feb. 7) Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. That’s the basic tale told by this exhibition of photographs and vintage films of the 1920s and ’30s, but with a question added: What happens to art when the script is drastically revised? Russia was an experiment in progress in the heady years following the 1917 revolution, and avant-garde art, free-spirited by definition, was officially embraced. When Joseph Stalin came to power <hl> art became government-dictated propaganda and its makers, often under threat, towed the line <hl>. Remarkably, the show presents a dozen films — some familiar, some not — full-length, on a rotating schedule of four a day, in a small viewing theater built into one of the Jewish Museum’s galleries. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Cotter) ★ Jewish Museum: ‘Unorthodox’ (through March 27) With about 200 putatively unorthodox works crowded into tightly walled-in spaces, this lively show has the feel of an Outsider Art fair — in a good way. The paintings, drawings, collages, assemblages, ceramics, weavings and videos are variously funny, funky, quirky, eccentric, idiosyncratic and visionary. Are they truly unorthodox by the standards of a contemporary art world wherein no one wants to be thought orthodox? No, but that’s O.K. It’s an entertaining and intermittently exhilarating exhibition nonetheless. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Johnson)

When Joseph Stalin came to power <hl> art became government-dictated propaganda and its makers, often under threat, towed the line <hl> .


Question: How many objects are in the Mary Griggs Burke collection?

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

Answer: 160

<hl> ★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. <hl> The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of <hl> 160 <hl> objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)


Question: Where did the objects in the Mary Griggs Burke Collection come from?

Answer: the Mary and Jackson Burke Foundation

<hl> ★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. <hl> The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from <hl> the Mary and Jackson Burke Foundation <hl> last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)


Question: What type of art did the Burkes love?

Answer: Japanese art

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. <hl> The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. <hl> The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved <hl> Japanese art <hl> — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)


Question: When will the pieces of the collection be rotated out and replaced?

Answer: in February

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. <hl> Some pieces on view now will be rotated out and replaced in February , making this an exhibition to visit at least twice. <hl> 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced <hl> in February <hl>, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

Some pieces on view now will be rotated out and replaced <hl> in February <hl> , making this an exhibition to visit at least twice.


Question: How many works are in the Grand Illusions exhibition?

Answer: 40 works

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. <hl> 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With 40 works , this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. <hl> Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

★ Metropolitan Museum of Art: ‘Celebrating the Arts of Japan: The Mary Griggs Burke Collection’ (continuing) This lavish roll out of 160 objects came to the Met from the Mary and Jackson Burke Foundation last spring. The Burkes loved Japanese art — all of it — and the collection is close to compendious in terms of media, from wood-carved Buddhas to bamboo baskets, with a particular strength in painting, early and late. The quality of the work? Japan thinks highly enough of it to have made the Burke holdings the first Japanese collection from abroad ever to show at Tokyo National Museum. Some pieces on view now will be rotated out and replaced in February, making this an exhibition to visit at least twice. 212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With <hl> 40 works <hl>, this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served. Its smart installation jumps between past and present, commercial and fine, pre- and postmodern, and is peppered with surprises by artists well-known and not. 212-535-7710, metmuseum.org. (Smith)

212-535-7710, metmuseum.org. (Cotter) Metropolitan Museum of Art: ‘Grand Illusions: Staged Photography from the Met Collection’ (through Jan. 18) With <hl> 40 works <hl> , this small, choice exhibition forms a freewheeling survey of the ways and means of staged photography — the arranging objects or people for the camera — and the many needs and sensibilities it has served.


Question: Where was Archibald Motley born?

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (1891-1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

Answer: in New Orleans

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. <hl> Motley (1891-1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. <hl> The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (1891-1981) was born <hl> in New Orleans <hl> and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)


Question: Where did Archibald Motley live?

Answer: in Chicago

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. <hl> Motley (1891-1981) was born in New Orleans and lived in Chicago , where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. <hl> The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (1891-1981) was born in New Orleans and lived <hl> in Chicago <hl>, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

Motley (1891-1981) was born in New Orleans and lived <hl> in Chicago <hl> , where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context.


Question: What did Archibald Motley paint?

Answer: the cultural life of the city’s African-American neighborhood known as Bronzeville

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. <hl> Motley (1891-1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville , portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. <hl> The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (1891-1981) was born in New Orleans and lived in Chicago, where he painted <hl> the cultural life of the city’s African-American neighborhood known as Bronzeville <hl>, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

Motley (1891-1981) was born in New Orleans and lived in Chicago, where he painted <hl> the cultural life of the city’s African-American neighborhood known as Bronzeville <hl> , portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context.


Question: When was Archibald Motley born?

Answer: 1891

Motley ( 1891 -1981

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. <hl> Motley ( 1891 -1981 <hl> ) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (<hl> 1891 <hl>-1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)


Question: When did Archibald Motley die?

Answer: 1981

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. <hl> Motley (1891- 1981 ) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. <hl> The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

★ Whitney Museum of American Art: ‘Archibald Motley: Jazz Age Modernist’ (through Jan. 17) Let’s take it as a good omen that the first solo show to appear in the Whitney’s new home is a career retrospective of a still understudied artist. Motley (1891-<hl> 1981 <hl>) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context. The show is modest in size but has features that many larger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere, and a complex and troubling political and moral tenor. 99 Gansevoort Street, at Washington Street, 212-570-3600, whitney.org. (Cotter)

Motley (1891- <hl> 1981 <hl> ) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city’s African-American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context.


Question: What type of exhibition is the Swedish Wodden toys exhibition?

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

Answer: presentation of more than 300 playthings from the late 16th to the early 21st centuries

★ ‘Swedish Wooden Toys’ (through Feb. 28) <hl> This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. <hl> The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

★ ‘Swedish Wooden Toys’ (through Feb. 28) This <hl> presentation of more than 300 playthings from the late 16th to the early 21st centuries <hl> will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)


Question: How were many of the items featured in the Swedish Wooden Toys exhibition produced?

Answer: While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. <hl> While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. <hl> Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. <hl> While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders <hl> like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)


Question: Where was Annu Matthew born?

Answer: in England

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) <hl> Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. <hl> The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born <hl> in England <hl> to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)