Bruce Conner

Amy Taubin

1. "BRUCE CONNER: IT'S ALL TRUE" (Museum of Modern Art, New York) MOMA delivered for Conner with this staggering retrospective that underscored the reciprocity between his moving-image and static work by giving seven films optimun projection within the 250-piece exhibition.

J. Hoberman

1. THREE SCREEN RAY (Bruce Conner) This superkinectic triptych, created by the artist in 2006 using material from his 1961 film Cosmic Ray, was the moving-image high point of, as well as synecdoche for, MOMA's recent Conner retrospective, "It's All True" - itself a triumph of installed film pieces.

Vince Aletti

2. BRUCE CONNER (MUSEUM OF MODERN ART, NEW YORK; CURATED BY STUART COMER, LAURA HOPTMAN, RUDOLF FRIELING AND GARY GARRELS WITH RACHEL FEDERMAN) I can't say I saw everything in Conner's astonishing retrospective. I always OD'd at some point, usually while peering into one of his meticulously constructed cut-and-paste collages or swooning over the even more intricate Rorschach inkblot drawings. It was all too much - but I kept going back for more. The show hit a high point immediately with a series of alarming witch's-brew assemblage, barely held together behind torn stockings. But Conner, who clearly blissed out more than once, never let up, ricocheting between the many media (film, photography, drawing, construction) That the exhibition allowed to bleed into one another, The result was overwhelming and deserves to be on permanent display.

Wallace Berman

Vince Aletti

10. "WALLACE BERMAN: AMERICAN ALEPH" (Kohn Gallery, Los Angeles; Curated by Claudia Bohn-Spector and Sam Mellon) An Artist I'd always associated with the Left Coast, post-Beat avant-garde, Berman hooked me with his verifax grids of hands gripping tiny transistor radios, their speaker panels replaced with appropriated images of a snake, a gun, a cross, an astronaut, a Buddha, or Janis Joplin. There was something at once antic and anxious about these graphics, which wallpapered the late 1960s and had lost none of their subversive kick in this compact retrospective. But Berman's other work - including collages, constructions and combines as resonant as Rauschenberg's - was even more jolting. The ideal chaser to Conner's heady MOMA cocktail.