Gallery Hours: Thurs–Sun 1 to 6

Rhea Anastas
Moyra Davey
Andrea Fraser
Nicolás Guagnini
Gareth James
Christian Philipp Müller
Jeff Preiss
R.H. Quaytman
Karin Schneider
Jason Simon
John Yancy, Jr.
Current Exhibition:

Future Exhibition:

Past Exhibitions:

Spring Wound
From One O to the Other
11 Sessions
Cookie Cutter
Calendar of flowers, gin bottles, steak bones
Image Coming Soon
Form of a waterfall. Sadie Benning
On The Collective For Living Cinema
Jef Geys
I Like You and You Like Me
Sylvia Rivera Law Project Art Opening
Around the Corner: Zoe Leonard, Petra Wunderlich, Christian Philipp Müller
Nicolás Guagnini: The Middle Class Goes to Heaven (2005–06)
Dan Graham: Death by Chocolate: West Edmonton Shopping Mall (1986–2005)

Heard Not Seen
Having Been Described In Words
Painters Without Paintings and Paintings Without Painters
Small Works For Big Change
Michael Asher, film screening
Stephan Pascher, Lucky Chairs

Martin Beck
September 11. 1973.
Part Three, "Last Minute"
Polish Socialist Conceptualism of the 70s
Part Two
Part One

September 11. 1973.
Organized By: Nicolás Guagnini

Art In Review
Monday, July 10, 2006
The New York Times

Clarity of purpose is always a plus, and Orchard, a newcomer on the Lower East Side, may have the market cornered. The creation of about a dozen people, including the artists Cheyney Thompson, Andrea Fraser and Nicolás Guagnini, it is part reading room, part commercial art gallery, and focused on brainy, politically minded art.

''September 11. 1973,'' its third show, which Mr. Guagnini organized, is didactic and incendiary. In work spanning the last three decades, it considers this coincidence: Sept. 11 is the date of the 1973 C.I.A.- backed coup against President Salvador Allende of Chile, and the 2001 terrorist attacks on New York and Washington. In other words, 9/11's status as a day of world-changing events and mourning began 28 years earlier than most people realize.

Works by Hans Haacke, Juan Downey, Dara Birnbaum, Ivan Navarro, Luis Camnitzer, Cuauhtémoc Medina and others zigzag between then and now, illuminating a not so surprising web of abuses of power, liberties and people. The web becomes explicit in Oyvind Fahlstrom's maplike overview of 20th- century colonialism, done in 1973, and Mark Lombardi's more surgical ''Bush-Harken Oil Osama Relationships'' of 1999.

Charged overloads of imagery and information also prevail in a promising, sprawling 2002 collage- drawing by Diego Fernandez; it commemorates his father, who was among Chile's ''disappeared.'' Another find is Ana Tiscornia, a Uruguayan artist living in New York who charts how mention of the recent 9/11 faded from her e-mails in the months that followed. Altogether this show rubs salt in wounds that, remembered or not, won't heal anytime soon. ROBERTA SMITH

Correction: October 20, 2005, Thursday The Art in Review column in Weekend on Friday referred incorrectly to the artist Cheyney Thompson. While he was at the opening of the ''September 11. 1973'' show at the Orchard Gallery on the Lower East Side, he is not one of the gallery's creators.