Coyote trots across my soul

dangling my illusions from her jaws

like a newborn lamb

Formally and conceptually, Eli Kince's multimedia installation (which includes "Fruits of Labor", 1994) is both engaging and introspective with his exploration of regeneration from the sprits and narratives of slaves.

As far as I have seen it, New Yorkers have several hobbies, like european art, that you can actually see at the ICP or in the NYC library, make fun of French society and of course speaking about psychoanalysis (their own analysis preferably). For this reason, Kader Attia, a young french artist should please the New Yorkers.

Less than a week since I arrived in New York, and I have the impression that, if the city has changed, its inhabitants haven't since John Dos Passos descriptions in Manhattan Transfer.

One of the symptoms of being an Emotional Idiot is that I want all my ex-boyfriends to pine for me long after I have left them. Even if I was completely sick of them by the time we broke up, still, I expect them to never find a substitute for ME. I know this is grandiose but so what.

Rio de Janeiro swarms with the noiseof meat cutters, mariachis, and mothers calling their children away from overflowing fire hydrants -- the water's too cold, hurts the mothers' skin to see it on their children. Over the borders, oil and drugs and revolution float in the air like the souls of dead dogs. Up the Amazon, the ghost of Elizabeth Bishop smells coffee

Caution dictates further murder Revenge will make things right

As the exhibition continues up the ramps, it gradually moves backwards in time. Tucked away in a back room on the first ramp are other works of laser art created between 1997 and 2000, entitled Three Elements. Projected through spinning prisms in large mirror-backed geometric structures, the lasers ricochet off the side panels. The darkness of the room accentuates the concentrated color in the beams.

The locus of the New Museum's recent "East Village USA" exhibition -- the period and place generally regarded as the "'80s East Village Art" phenomenon -- actually encompassed as many as 20 or 30 "East Villages," various scenes and circles rotating through Venn diagrams of intersections, casual alliance, community action and internecine rivalry. Competing styles and artists' goals were as numerous and as varied as the epistemologies presumed to underlie them.

The Downtown Collection, an amalgam of archives in NYU's Fales Library provided the initial impetus for The Downtown Show, curated by Carlo McCormick, currently on view at both the Fales and NYU's Grey Art Gallery, and its companion publication, "The Downtown Book". Less an art show in the traditional sense than a barrage of ephemera, periodicals, manuscripts and artifacts, richly supplemented -- for the most part -- by exemplary paintings and sculptural objects, and rarely seen early works by well-known artists and writers, as well as a glut of musical and performance/video documentation.

Because society is less concerned with understanding the meaning of artistic production than with promoting and profiting from name brand artists' commodities, it creates personal mythologies which insure the chosen's entry to the pantheon, all the more compelling if the artist has the good taste to die young. Keats, Kahlo, Pollock, Parker, Plath, Hendrix, Cobain, and thousands of other less recognizable names; usually some form of self-destruction is involved. ("Die young, and stay pretty", sang Blondie's Debbie Harry, who managed to avoid that fate.) In the 80s art world, the two meteors were Jean Michel Basquiat and Keith Haring. Hagiography blinds hindsight, and the meaning and method of the work of both these artists are ripe for re-investigation. Though both were associated early on with the East Village, both saw the world (and the streets) as a greater canvas, to be re-coded and interpreted through a personal yet largely accessible visual hermeneutics

A blonde angel covers the Earth with some blankets. With these white immense blankets envelops the planet.

Early in Rhythm Science Paul D. Miller, better known as D.J. Spooky, brazenly claims his new book "is a theater of networks, of correspondences that turn in on themselves and drift into the ether like smoke-rings blown in an airless club.

Clark's films generally follow a male perspective, females existing mainly as foils for the males. In fact most of the major female characters in both Kids and Bully are raped. In Kids, Casper, to emulate the sexual mastery of Telly, rapes the peacefully sleeping Jenny, in a long, explicitly jarring scene. The defilement of Casper primarily intrigues Clark, however, the camera focusing on Casper's bewildered face the next morning as he asks "what happened?" Amidst all his drugs and debauchery, only the malicious violence of rape exiles Casper from innocence, from childhood. Looking back, Telly's pursuit of virgins can be seen as a subliminal compulsion to destroy innocence that is made even more profound by the fact that he is HIV positive.

El Chino you dance alone in a maelstrom of well-heeled couples

the tango, danzón, salsa, merengue, mambo, cúmbia

chachacha, guaracha on a midsummer night at Lincoln Center plaza

La perra de mi vecina, pequeña, blanca, peluda. La lleva en su cartera con su cabecita saltarina mirando a todos en el tren, que ha tomado en la estación West 4. La gente sonríe cuando ven a la peludita. En la estación de la calle 14 un policía se abre paso. Intenta entrar al tren entre medio de la muchedumbre y ¡PAFFFFFF! la macana se suelta y achueca al animal.

Poetry in Latin America, with its great capacity for transformation, moves in buds of great truths. That cosmology, besides consisting of word, rhythm, melody and verse, has been the conduit of deep historical realities. Themes like peace, war, injustice and terror expand throughout this universe, unfolding an accordion of everyday possibilities like condemnation, protest, indignation and rage.

La poesía en América Latina con su gran capacidad transformadora, se mueve en capullos de grandes verdades. Esa cosmología, que además de consistir de palabra, ritmo, melodía y verso, ha sido conductora de profundas realidades históricas. Temas como la paz, la guerra, la injusticia y el terror se expanden dentro de este universo dando cabida a un acordeón de posibilidades cotidianas tales como la denuncia, la protesta, la indignación y el coraje.