And then in Mr. Delgado's third article he kills two birds with 753 words, by combining reviews of the Brian Jungen show at Quartier Ephemere and the Bill Burns show at the Saidye. Other than piling on the bandwagon for both artists Mr. Delgado doesn't add anything new to the discussion, which is unfortunate as he has had able time to read everybody else's reviews and comments.

Over at Le Devoir, Jean-Claude Rochefort pays for his trip to NYC by writing about the Whitney Biennal, unfortunately Le Devoir attempts to recoup what they paid Mr. Rochefort by charging $3.95 to read the article. And then it is similar with Michel Hellman's article about the Gwenaël Bélanger exhibit at Galerie Graff, except that he only needed bus fare to get there.

Then at Radio-Canada, I am extremely disappointed with Claude Couillard this week. Nothing new of significance, he picks up the Mona Lisa warping, and something about a skyscaper museum in NYC, and buried (where I couldn't find it yesterday) is a tiny piece about the Riopelle family feud.

Then saving the best for last! Over at Voir, Nicolas Mavrikakis, writes 386 words about "Le Design contemporain au Québec" now playing at Le Musée des maîtres et artisans du Québec, 170 words about the president of Diesel Communications' show at BlowUp Gallery, and 429 words about Patrick Bernatchez at B-312. Mr. Mavrikakis out does himself with the name dropping in the article about Patrick Bernatchez, where I count eight separate references designed to make me feel insecure. David Cronenberg, Sarah Lucas, Bertrand Lavier, Tobias Rehberger, Gabriel Orozco, Maurizio Cattelan, and Matthew Barney, but the one that is most puzzling to me, or in other words the death blow as far as me being worthy of knowing anything about contemporary art is "les voitures de Cesar." However after a quick check at Google (thank heavens otherwise I would feel SO unworthy) it appears that there is some dude who only uses one name (even though his last name is Baldaccini) who likes to crush cars, sorta like John Chamberlain, or Vera Tamari. As for the review his summary makes things completely and utterly clear where he stands with regards to Mr. Bernatchez's work: "Mécanique et débordements est une expo à la symbolique plus complexe et plus opaque que celle mise en place par Bernatchez à la Galerie Clark, à l'automne 2002. C'est bien ainsi." Or for the language challenged, Mécanique et débordements is an exhibiton with a symbolic system that is more complex and more opaque than the installation by Bernatchez at the Clark Gallery, in the autumn of 2002, thus it is good." Or in my translation 'huh?"