Artist Talk: “Subjective Histories of Sculpture: Josephine Meckseper”
Josephine Meckseper’s elaborate installations, photographs and videos explore the relationship between politics and consumer culture, particularly with respect to fashion and advertising, and the homogenizing effects of capitalism. Ms. Meckseper is next up in this lecture series, organized in collaboration with the Vera List Center for Art and Politics at the New School, which aims to present histories that question convention and offer alternative ways for understanding the evolution of sculpture. —Rozalia Jovanovic
SculptureCenter, 44-19 Purves Street, Long Island City, 7 p.m.

WEDNESDAY, APRIL 11

Opening: Lorraine O'Grady, "New Worlds," at Alexander Gray Associates
Lorraine O'Grady's second show at Alexander Gray features a new video work alongside her 1991 photo series "BodyGround," which has been re-formatted in 2012. The video, Landscape (Western Hemisphere), is a surrealistic depiction of the artist's hair transformed into landscape over the course of 18 minutes. —Michael H. Miller
Alexander Gray Associates, 508 West 26th Street, Suite 215, New York, 6-8 p.m.

THURSDAY APRIL 12

Performance: Lil B at the New Museum.
The popular, critically acclaimed and weirdly prolific rapper Lil B hits the New Museum as part of its "Get Weird" series. — Dan Duray
The New Museum, 235 Bowery, New York, 6:30 p.m.

FRIDAY, APRIL 13

Opening: Tony Matelli, "Windows, Walls and Mirrors," at Leo Koenig Inc.
Tony Matelli takes over both Koenig galleries for his fourth solo show at the gallery. Known for his deceptively lifelike sculptures, Mr. Matelli will present a sculpture called Josh (2010) that shows a young man in shorts, slowly levitating from the ground, his head stuck strangely to the floor. It's a Duane Hanson gone beautifully surreal. Also on view will be some of the artist's "Mirror Paintings," which he makes by drawing various messages in urethane affixed to mirrored glass. The resulting works look as though someone has scrawled messages by clearing away dust. "I like this idea of seeing yourself beneath all these layers of other people's touch," the artist told R.C. Baker recently. —Andrew Russeth
Leo Koenig Inc., 541 and 545 West 23rd Street, New York, 6–8 p.m.

Performance: Grouper and Julianna Barwick at the Guggenheim Museum
As part of its Divine Ricochet series, the Guggenheim focuses on two young women--Grouper (the alias of Liz Harris) and Julianna Barwick--who perform solo and create long-form ambient sound collages, Ms. Harris with tape loops and found recordings, Ms. Barwick with her voice. If you've never heard music performed live in the Guggenheim rotunda, "divine ricochet" is a pretty good description of what you can expect. —M.H.M.
Guggenheim Museum, 1071 Fifth Avenue, New York, $27, doors at 8:30 p.m., performances begin at 10:00 p.m.

SATURDAY, APRIL 14

Opening: Malick Sidibé at Agnès B. Galerie Boutique
French fashion designer agnès b. celebrates the one-year anniversary of her downtown gallery with a show devoted to the work of legendary Malian photographer Malick Sidibé, whose remarkable portraits of people and documentation of parties in pre-independence Mali (before 1960) and the decades that followed are alternately fragile, handsome and pleasure-suffused triumphs of the medium. —A.R.
Agnès B. Galerie Boutique, 50 Howard Street, New York, 6–9 p.m.

Screening and Conversation: Adam Curtis and Hans Ulrich Obrist
For the closing of Adam Curtis’s exhibition “Adam Curtis: The Desperate Edge of Now,” which was curated by Hans Ulrich Obrist and designed by Liam Gillick, the filmmaker will give a talk interpolated with film footage. Though he’s not an artist, since the early ‘90s Mr. Curtis has created films and documentaries for the BBC, which use historic fragments recorded on film and video reassembled in an attempt to reflect on the present. After the talk, Hans Ulrich Obrist joins the filmmaker in conversation. —R.J.
e-flux, 311 East Broadway, New York, 5 p.m.

SATURDAY AND SUNDAY, APRIL 14 AND 15

Performance: MoMA PS1 Salutes Kraftwerk
Techno pioneers Juan Atkins and Francois K pay tribute to Kraftwerk at PS1 this weekend, a warm-up for the Warm Ups as the weather, er, becomes higher in temperature. It's not the MoMA retrospective, but it's probably the best you're going to get. —D.D.
MoMA PS1, 22-25 Jackson Avenue, Long Island City, 3-6 p.m.

Yesterday morning, the pieces appeared to be nearly fully assembled. An elderly gentleman yelled to the two construction workers who were putting on some final touches, "Are they pumping real shit out of the ground?" After being informed that he was looking at artworks, he mumbled something about the high price of gas. He pulled a camera out of his pocket and snapped a picture through the chain-link fence that surrounds the installation.

Judging the still-unfinished project, it looks a very rare thing: a successful public artwork. It's ideally scaled to its surroundings--a perfectly absurd sight in the middle of the area's soaring skyscrapers--and like Duchamp's Rotary Demisphere (or the bachelors of his Large Glass) it's going to churn away, through May 6, never managing to accomplish any real work.

According to Ms. Meckseper, in the release:

“I hope to draw parallels between the American industrial system, transitioning from a past of heavy industry, factories, and teamsters and the disembodied present of electronic mass-media, surface advertising, and consumerism - so clearly embodied in Times Square,” explained Meckseper, “The critical placement of the pumps is a conceptual gesture that raises questions about business and capital; land use and resources; wealth and decay; decadence and dependence.”

The project will run until May 6. The last project in the series featured the artist David Brooks.

A still from Ms. Rottenberg's "Squeeze" video, 2010. (Klagsbrun/Boone)

Andrea Rosen Gallery just sent over a press release announcing that it is going to be working with German artist Josephine Meckseper and Argentinian video-installation mistress Mika Rottenberg.

Ms. Meckseper, who was tapped for the 2010 Whitney Biennial, had been showing with Elizabeth Dee in New York, while Ms. Rottenberg, a 2008 Whitney Biennial alumna, had been with Nicole Klagsbrun, who will now co-represent her.

Update, 12:45 p.m.: Half Gallery just suggested on Twitter that Sterling Ruby, who parted ways with Pace Gallery last week, could be next to join Ms. Rosen's roster. It seems possible (he had a two-person show there with work by Lucio Fontana last year and a three-person meet-up with Carol Bove and Dana Schutz in 2010). We'll see what happens.

Ms. Rottenberg's 2010 show at Mary Boone Gallery, in collaboration with Klagsbrun, was, in our humble opinion, easily one of the highlights of that season--it featured a compact theater that showed a video documenting the production of a strange cube made of cabbage and detritus. (Here's a photograph of a good-sported Ms. Boone holding it.)

Gallerist's Michael H. Miller wrote about the work that Ms. Rottenberg made for Performa 11, in collaboration with sculptor Jon Kessler, late last year.

From left: Houmard, Neidich and Schindler. (Photos courtesy of Patrick McMullan)

Quality restaurant art is nothing new, especially in New York. When it opened in the late ’50s, the Four Seasons Restaurant, in the iconic Seagrams Building, had art by Picasso, Miró and Jackson Pollock on the walls. (The dining room was meant to get a series by Mark Rothko, but he pulled out of the project, and the paintings now hang in three museums.) The food/art nexus may have culminated with the freewheeling 1970s, when Gordon Matta-Clark had his restaurant, Food, in Soho—compared with that, most restaurant offerings seem pretty staid. These days, you can go to Casa Lever, in the architecturally groovy Lever House, and gaze at myriad Warhol prints of celebrities—Hitchcock, Sly Stallone—while you’re eating your $52 “Costata” T-bone steak. And if you’re looking for something a bit more classical, there’s always Maxfield Parrish’s monumental mural, Old King Cole, which hangs elegantly above the bar in the St. Regis Hotel. But a new joint set to open by the end of the year is bringing New York restaurant art to a whole new level of downtown hipness.

ACME, at 9 Great Jones Street, is owned by Jean-Marc Houmard, co-owner of Indochine, Jon Neidich, who used to manage the bar at the Boom Boom Room and Evanly Schindler, the founder of Blackbook and former president of Interview, who is making his entree to the restaurant world with this narrow bistro. Mr. Houmard has also brought in his frequent partner Huy Chi Le. The chef is Mads Refslund, of the acclaimed Noma in Copenhagen. The restaurant’s initial artistic offerings include works by downtown fixtures like Hanna Liden and the Bruce High Quality Foundation, as well as contemporary blue-chip favorites like Peter Doig and Richard Prince, though the owners say this is just the beginning, and plan to cycle in new works once the venue opens.

“Every restaurant does art,” Mr. Schindler said. “Every company tries to work with artists, these days more than ever, so we’re not just trying to do art for the sake of art. But at the same time there is a methodology here, which is riffing on the Dada aesthetic, the anti-art idea that’s irreverent and fun.”

Ms. Liden’s statue, which will be visible through ACME’s front window once it opens, is a take on Marcel Duchamp’s inverted Bicycle Wheel, his first ready-made piece. Instead of a stool, Ms. Liden’s wheel sits on a stack of plastic folding chairs to the right of the foyer. Woven between the spokes in blue neon are the words “HAVE A NICE DAY,” the letters on the final word disintegrating, as if whoever is uttering the phrase can’t keep a straight face. A reference to her obsession with those fake, well-meaning sayings found on bodega bags, it’s a bit like a Tracey Emin neon, though it’s also a bit like that Batman movie where Catwoman smashes a neon sign in her apartment. Once the facade is done, the piece will be visible from the street.

On the wall to the left and just past the entrance there are prints by Mr. Doig, Josephine Meckseper and René Ricard from the Neidich family’s personal collection, clustered with the second brand-new piece, a photo by Olympia Scarry commissioned by Neville Wakefield, the independent curator who worked on the last PS1 “Greater New York” show. Ms. Scarry happens to be Mr. Wakefield’s partner and her photo, like the Liden, also plays with Duchamp, in this case the photograph of the artist in his later years playing chess with a nude Eve Babitz. Ms. Scarry set her photo in the Swiss Alps, and has a nude woman playing chess with a goat. The lighting is low enough that most of these pieces are difficult to see, and the works have nothing in common with each other, or the surrounding decor, which is café society meets casbah—checkered floors and tan walls.

“A lot of time when there’s art in restaurants it’s trophy hunter-status, in your face,” said gallerist Bill Powers, who used to work with Mr. Schindler at Blackbook and commissioned the Liden. “Like Gramercy Park Hotel or Lever House. On the opposite end of the spectrum are the anonymous murals at the Waverly Inn, which are nice but very subtle. Here, the owners thought you can do something that’s relevant and still is a little more integrated.”

You can almost miss the Bruce High Quality Foundation bust that sits behind the bar, amid liquor bottles—though Bruce associate Vito Schnabel didn’t when he arrived on Thursday and sat down at the bar right in front of it. At the end of the bar on a chalkboard is the quote, “Before Adam met Eve, he was gay,” from Warhol pal Taylor Mead’s book On Amphetamines and in Europe, a passage that also features a cameo of the address 9 Great Jones. A series of Richard Prince prints featuring X-ray-like skulls with Playboy bunny ears are tucked at the far back of the main room.

“At the time he got a ‘cease and desist’ from Playboy because he wasn’t the Richard Prince he is today,” Mr. Powers said. “He was probably a little more of a hambone.”

Though still under construction on Thursday, the restaurant’s basement will be a sort of gallery space featuring a hallway of what was referred to as “doors to nowhere.” Artists contribute their takes on the door and patrons are offered the opportunity to peruse—Aneta Bartos, an artist at the tasting, described her door as a slideshow reel of photos that you watch through a peephole and turn with a crank. At Mr. Wakefield’s suggestion, Martynka Wawrzyniak will contribute a video piece. There are also plans to make use of an abandoned elevator shaft as an art space—but as it always is for young restaurants, much is up in the air.

“We could have reached higher, including big, big names, especially through Neville,” Mr. Schindler said. “We wanted to focus on younger artists for the opening. That’s not to say there won’t be a few big names in the future. It’s in flux.”

For ACME—whose name recalls not only a synonym for “apogee,” but also the company that sold defective bird-catching goods to Wile E. Coyote—popularity feels inevitable. It may even be poised to replace places like Indochine and Bottino as the art world’s dining hall of choice. Though Thursday was just for friends and family—and the owners stressed this several times, because the restaurant is not yet open for business and the appearance that it is might cause a headache with the Health Department—it was still packed, and with just the type of people you’d expect. Glenn O’Brien sat at table next to Richard Kern and his wife, Ms. Wawrzyniak. Mr. Powers and his wife, Cynthia Rowley, debated whether they should stick to appetizers, since their baby-sitter for the evening was a semiknown DJ who had to leave soon for a set. Parker Posey left not long after China Chow entered, and artist Tom Sachs was deep in conversation with Visionaire magazine co-founder and former model Cecilia Dean. The owners may have been right to be nervous, but for any journalists who might have been standing around at the bar, it was pretty clear that these really are the owners’ friends and family.

dduray@observer.com