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Cherry and Martin on occasion producing well timed exhibitions interrupting the "new" moment with gentle reminders, past artists who too had delivered on certain aesthetics promises. E.g. their delivering a new Support/Surfaces exhibition to at a moment when gentle auto-painting of certain painter-painters was reaching peak. And from Thek to 1960's Robert Graham to Kudo to here Cheng before today's bio-waste terrariums of a list of at least 15 artists currently voguing, the anxiety of futurology's biotechnic surrealism is well represented. When young artists start to occlude the past it is of course a market effect producing outshone visibility and C+M - and perhaps Greenspon across the continent and bummeringly very few others - dogged insistence against the new shiny thing commendable.
See too: Ajay Kurian at Rowhouse Project, Max Hooper Schneider at High Art, Nancy Lupo at Swiss Institute, Amy Yao at Various Small Fires, “Flat Neighbors” at Rachel Uffner, Hans-Christian Lotz at Christian Andersen,Yuji Agematsu at Artspeak, “RR ZZ” at Gluck50, Yuji Agematsu at Real Fine Arts, Mathis Altmann at Freedman Fitzpatrick Altmann, Olga Balema at Croy Nielsen, David Douard at Johan Berggren, Nancy Lupo at Wallspace, Katja Novitskova at Kunsthalle Lissabon, Anicka Yi at Kunsthalle Basel, Anicka Yi at Cleveland Museum of Art, Transformer Station, Florian Germann at Gregor Staiger, Timur Si-Qin at Carl Kostyál, Ben Schumacher at Musee d’art contemporain de Lyon, Anna Uddenberg and Nicolas Ceccaldi at MEGA Foundation, Pamela Rosenkranz at Karma International, “Being Thing” at Centre International d’Arte et du Paysage & Treignac Projet, Michael E. Smith at Sculpture Center