A certain disarming intimacy emerges, despite direct references to the slickness of American Minimalism: Mi sento quasi... / I Almost Feel… (2017) is an ever-so-slightly irregular (and not quite closed, perhaps echoes of the “almost” in the title) hoop of iridescent green Murano glass a little more than a meter in diameter; Sempre io / Always Me (2017), a pair of two two-meter long 2.2 cm square rods, set end to end and gilded in lemon and yellow gold. The placement and shapes are a nod to Judd, Lewitt or other midcentury Minimalists. In Come una farfalla / Like a Butterfly (2018), a crumpled, button-down men’s shirt rendered in bronze, Gennari riffs on the piled, unfolded garments that often appear in Arte Povera work from the same era.

The somewhat invisible labor of this hugely important nonprofit is given its due attention with Broadcasting: EAI at ICA, an exhibition at the Institute of Contemporary Art (ICA), University of Pennsylvania. Curated by the ICA’s Alex Klein and EAI’s Rebecca Cleman, the exhibition takes on broadcasting not only as its subject but its form. The curators note that the term “broadcasting” originates from agriculture and means “to disperse seeds widely,” but later came to figuratively describe communications technology. Accordingly, the curators have broadcast the exhibition—notably, through a related exhibition nearby at Slought titled Broadcasting: Guerilla Media, which focuses on collectivist media and Guerilla Television, with works by groups such as Video Venice News, X-PRZ, and TVTV. Public programs—namely, discussions about media art—have also been broadcast on the public access network PhillyCAM in the lineage of several of the artists surveyed.