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Cahn is important, perhaps like Andrew Wekua, in the age of the digital euphemising the body, that someone retensions connection to our corporeality. The body is battleground of artists deciding how to represent it back to us. An artist can drop it from a height over and over again and care nothing for it if they so wish. Cahn seems to care, even while suspending its pink people over the sandpaper causticness of its abrasive color, one of a very few painters to make painting's bright beauty a violent thing. and against people like rubbed erasers, pink and sensitive worn forms. Painting can do a real violence to balloons filled with red liquid. Rubbed of noses, devoid of hair, flesh the color of factory chicken skin. The manifold meanings of the adjective tender, "showing gentleness" as well as "sensitive to pain." "(of meat) easy to cut."
See too: Miriam Cahn at Jocelyn Wolff, Group Show at Meyer Riegger, Lisa Yuskavage at Contemporary Art Museum St. Louis, Nicola Tyson at Friedrich Petzel, Tala Madani at David Kordansky, Andro Wekua at Sprüth Magers, Michaël Borremans at Dallas Museum of Art, Erwin Wurm at Kunstmuseum Wolfsburg