There’s no end to the number of artists, writers and musicians inspired by the cut-up method of creation. But in collages and in life, Genesis Breyer P-Orridge has taken the mash-up genre in a distinctive direction—and to particularly transgressive extremes.

Vincent Fecteau’s recent abstract sculptures are at once more conservative and more radical than his past work.

Simultaneously playful and politically engaged, “The Girl Effect”—a survey of work by seven international women artists—included mostly video work but also a board game and an installation. The show took its name from the Girl Effect campaign, a global initiative spearheaded by the Nike Foundation to educate girls and young women in impoverished communities in Asia and Africa, with the aim of preparing them to be economic and community leaders.

Yüksel Arslan was born to working class parents in Istanbul in 1933, at the height of Kemal Atatürk's secular modernizing regime. It was a relatively fertile pocket of time for Turkish national development, during which the rest of Europe was enmeshed in the Second World War.

In Penny Siopis’s painting Pine, we see a man and a woman lying on the ground in a forest, almost entirely obscured by a screen of pine needles and cones that forms a meditative, batik-like pattern of ocher and brown. They are alone in this quiet landscape, and the man’s hand is firmly clamped over the woman’s mouth.