Part of Adrian Villar Rojas's Two Suns installation at Marian Goodman Gallery in New York, 2015.COURTESY MARIAN GOODMAN GALLERY

Part of Adrian Villar Rojas’s Two Suns installation at Marian Goodman Gallery in New York, 2015.

COURTESY MARIAN GOODMAN GALLERY

Bigness

Adrián Villar Rojas never met a Met rooftop he didn’t like. Or: on the newly commissioned project “The Theater of Disappearance” now showing on the Met Museum’s open-air roof for the summer. [The New York Times]

All the Robert Ryman paintings at Dia:Beacon—so many shades of white in so much natural light!—will stay there together thanks to a gift from the artist of 21 works. [The New York Times]

Larry Gagosian flipped his penthouse in the luxury Faena House building in Miami, reportedly for a loss of nearly $1 million. [The Real Deal]

Moving Company

The therapeutic qualities of making art are on display in the “Wounded Warriors Healing Arts” show at the Pentagon. [U.S. Department of Defense]

The exhibition “Art on the Inside” shows art made by inmates in the Alabama prison system at the Kennedy-Douglass Center for the Arts. [TimesDaily]

Op-Ed

The maker of the Charging Bull statue on Wall Street dislikes the Fearless Girl sculpture that was recently placed nearby in a PR stunt that doubled as a craven bit of opportunistic co-opting of all that is dear in the world. Everybody loses! [The New York Times]

In a story about the new Jeff Koons x Louis Vuitton alliance, a line from the New York Post: “At a time when museum attendance lags and interest in the arts seems to be generally declining, Koons says he wants to democratize high art.” Oh, yeah? [The New York Post]

Future vs. Past

“Dubai’s art market is hotter than ever.” [CNN Money]

On the tricky business of conserving media art, by way of conservators at the Denver Art Museum and works by Nam June Paik and others that include fleeting technological materials. [KUNC]

Misc.

A review of Lynne Tillman’s book The Complete Madame Realism and Other Stories. [Bookforum]

See some photographic ruminations by Shen Wei, a Chinese-born, New York-based artist whose work brings out “the layer of dream-life hovering just beneath reality.” [The Paris Review]