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CRITIC'S CHOICE

REVIEW

The photographer Nigel Green, a contributor to AJ building studies, has also focused on Dungeness Power Station, post-war reconstruction in Calais, and the weeds that flourish in railway sidings or cracks in the tarmac, becoming singular presences (AJ 19.02.04). At the Permanent Gallery, Brighton (www. permanentgallery. com), until 24 July, he shows another side of his practice in an exhibition called Fragments.

It's an apt title. The photographs are tiny, often with irregular edges and simply mounted on white card - and things that are miniaturised often compel attention just for that. Though their architectural subjects are sometimes legible (Villa Savoye), more often they're quite cryptic, with the building presented elliptically in a detail or motif. And they are still more cryptic due to the chemical manipulation that Green has subjected them to (a kind of accelerated ageing), in which areas of each image flare or fade, becoming indistinct. They're like something discovered in an attic - and that sense of being evidence from long ago, of having barely survived, returns you to the fate of the buildings they record.

This show is small but unusually absorbing.

Green is clearly interested in something other than mainstream Modernism, or at least the usual depictions of it.

An INTBAU conference in Stockholm from 12-14 September, The Forgotten Modern, explores Swedish Grace - the spare Scandinavian Classicism of the first decades of the 20th century. Speakers include Robert Adam, Andres Duany and Leon Krier (Details www. intbau. org).

Even after AHMM's adjustments, London's Barbican Art Gallery is a tricky place to stage exhibitions, but Colour After Klein, until 11 September, deals better than most with the split levels and awkward upper space. Judd, Beuys and James Turrell feature, along with a spectacular light work by Dan Flavin. But Yves Klein steals the show, not just with his signature blue (often cited as an influence by Richard MacCormac), but with a wall of 10 monochromes, all different in colour and texture, not seen en masse here since Stanton Williams' beautiful installation at the Hayward in 1995. There's a catalogue from Black Dog Publishing (£26).

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