The Luxembourg + Company, a Tony Gallery, has been putting herself in her 57th Street Space in Manhattan in Manhattan, a Tony Gallery in New York and London. The Luxembourg part is a powerful mother-daughter team- Dinila and her daughter Alma- and this time, they are presenting us as a landscape painter with the idea of ​​Magrate.

“Rene Magrate: The Phantom Landscape” (Through July 12) When we think of a simplified painter of Belgium, and consider Magrate as a different kind of landscape artist, we play in the same sandbox in the same sandbox. (When I tell George Condo about the show, he says: “Good angle on the maght. Nobody ever zoom on it.”)

Denilla Luxembourg, one of the most new and far-flung dealers-slash-art consultants, is also a top notch collector. When in New York, she lives in Pierre Mattis’ house on the upper East side (she bought it in 2001), and a few weeks ago she sold her 15 important tasks- Lucio Fontana, Alberto Bari, Michael Angelo Pistolato, Alexander Classor, Class Oldenberg, and other post-word master. Bare walls, not a problem: she has already been brought into paintings by Dominico Gnoli, another fontana, and two kinetic sculptures by Jean Toili since the 50s, all to change them from their huge personal collections.

Born in Lodes, a city in Central Poland, known for its large number of palaces and Villas and its national film school (Roman Polanski there), Luxembourg is a delicious man who challenges the conference. After going to Israel, when she was only a few months old, she grew up in Haifa, studying the history of art (with focus on early medieval Jewish art), and began in Sotbi in Tel Aviv in 1984 when she was early in the 30s. Then, in 1989, she left the auction home to find Vienna’s Jewish Museum. She sees art as an intellectual, but presents it so that everyone can see it in ways we had not thought before.

In “The Phantom Landscape”, 14-well curated work, most of them are very few, telling the story of a three-part, divided into three rooms. First, the “frame of reference”, sees out ideas through some kind of frame. The second room, “is the boundary of the sky,” all the sky. And the third room, “a human landscape,” works that uses the human body and the world around it, or “the human body and natural elements are converted into each other.” In the ventilated, sixth floor place, Luxembourg went to me a few weeks ago through the show.