Mario Schifano

The New Yorker

This sexy and important tour d’horizon of one of Rome’s big artists of the sixties is a rehang of an earlier presentation in London. From minimal painting, Schifano soon moved into work featuring American consumer brands overlaid with colored plastic; one, featuring the Coca-Cola logo under an orange filter, is called simply “Propaganda.” By the end of the decade, he was manipulating TV imagery, of war planes and Nazi rallies, or of treacly soap operas, with psychedelic effects that recall Sigmar Polke. Also like Polke, Schifano recorded his own music, which plays in the gallery here. Through Jan. 10.