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	<title>Haberarts</title>
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	<description>John Haber's New.York Art.Crit</description>
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		<title>We, the People, Too</title>
		<description><![CDATA[&#8220;Corporations are people, my friend.&#8221; When Mitt Romney insists on it, he does more than express Republican ideals—and his own inability to act fully human. He also supplies the theme for a group show, at Winkleman through February 11. Maybe he explains, too, why the show&#8217;s images are so, well, impersonal. &#8220;Corporations Are People Too&#8221; [...]]]></description>
		<link>http://www.haberarts.com/2012/02/we-the-people-too/</link>
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		<title>Never Such Innocence</title>
		<description><![CDATA[A few photographers change how one looks at photography. Fewer still change how one looks at America, and it is the subject of a longer review—in my latest upload. As bit of my usual housecleaning, it appends a short review that appeared earlier in this space of another photographer of the time, Jill Freedman. But [...]]]></description>
		<link>http://www.haberarts.com/2012/02/never-such-innocence/</link>
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		<title>The Ghosts of Abstraction</title>
		<description><![CDATA[The artists in &#8220;. . .,&#8221; at The Hole through February 4, are haunted. Not so much by the ghosts of abstraction past, although they will surely haunt the viewer. Who left so many thin traces and dense weaves. Who left several decades of art obsessed with poured paint and spatters, geometry and randomness, excess and absence [...]]]></description>
		<link>http://www.haberarts.com/2012/02/painting-and/</link>
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		<title>Detroit Re-redux</title>
		<description><![CDATA[As another postscript to recent reviews in this space, were you shocked (shocked) to learn that Andrew Moore and Charles Sheeler had visited much the same Detroit? Imagine my coming just days later upon two more shared visions (and I have wrapped this into my review of Moore). They return to those factory interiors, at [...]]]></description>
		<link>http://www.haberarts.com/2012/01/detroit-re-redux/</link>
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		<title>Architecture Without Foundations</title>
		<description><![CDATA[To pick up from last time, Ai Weiwei has made art out of sunflower seeds. So why does it look every ounce of its five and one-half tons? Has he reshaped the architecture, reinforced it, or challenged it? Several shows these days raise the same question. James Nares brings to a gallery a wrecking ball—and [...]]]></description>
		<link>http://www.haberarts.com/2012/01/architecture-without-foundations/</link>
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		<title>Sunflowers and a Wrecking Ball</title>
		<description><![CDATA[Ai Weiwei has recovered something precious about art—its dangers. Yes, art is dangerous. I thought I would never say that again, for all the dead sharks, carnival rides, pretend shocks, and trashed galleries. It was dangerous enough to get the artist and human-rights activist arrested, although I realize that is a little easier in China. [...]]]></description>
		<link>http://www.haberarts.com/2012/01/sunflowers-and-a-wrecking-ball/</link>
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