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Oh, is it time for Ravels in Review again? Great, well, in my disordered placement of life’s task I’ll put this on the top of the heap while simultaneously making coffee with one hand and juggling oranges with the other. Priorities are amazing things, no?

But to the ravels we’re reviewing:

Things were junking up the floor of MoMA’s atrium, ala Song Dong this time, and I started rethinking my Conceptual art prejudice.

Richard Misrach’s large-format photographs are either either calming or unsettling, and I rather think the latter.

Words straight from the art dealer Betty Parson‘s mouth.

Vanished poet Rosemary Tonks is one of the most exciting things I’ve come across in a while. She’s on my reading list for the weekend.

And then, of course, there was the beautifully-titled OUCH. My hand is fine, by the way. To sum up my thoughts on the newest film version of Easy Virtue–something went wrong when they tried to make it into a movie and Jessica Beil is only the obvious thing.

Stuff happened in other places, and yet no one had any suggestions for me about contemporary Hungarian art? Any links or vague, unformed thoughts?

I’ll get the ball rolling: these images are from Peter Forgacs multimedia installation Col Tempo at the Hungarian Pavilion at this year’s Venice Biennial.