ARTFORUM

I was enticed by a 1958 drawing titled Fossil (Unicorn) and other delicate visions of skeletal beings in white, but I stayed for Pluto Transiting the Twelfth House, 1978–86, searching for heavenly figures in the group of cloudlike images.

THE BROOKLYN RAIL

Plagued by this deluge of mannered, largely appropriated fare, Carmeron stands out as the real thing—a long-time occult priestess of the first order. The current exhibition Sixties Surreal at the Whitney Museum missed the boat by not including her work: she should have been the exhibition’s guiding star. At Nicole Klagsbrun, we encounter a historically important selection of stunning Cameron works on paper and cardboard from different periods.