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Most anomalous and interesting of Quarterly is CAD's anachronistic reach into time pre-hegemony-of-the-art-image that it itself wrought, when the earliest shows are seemingly lost altogether - there's at least one imageless exhibition here - or are images of the painter in front of her painting, or wildly green uncolorcorrected, all totally unimaginable today, there was no need for it then whereas today's paintings are only as good as their documentation proves them. That the global conglomerate who meme-like spread - if not started - the requirement for ultra-crisp white lighting of a pornographic sort is now looking back to the yellow-tinged days before what it enacted is almost a sort of pathos, a thing remembering a time before itself.
Wasmuht seems like the odd one out, but looking through it may be an important historical connection between say the Imagists and Mehretuian globalists presaging todays digitized power collagists of say Juliano-Villani or Singer.
See too: And so Quarterly has finally come to pass.