How do you write about an artist whose work is about everything but the work itself? This isn’t a fluffy profile of Domingo Castillo. It’s a fluffy profile of conceptualizations of Domingo Castillo.

The journey of the Stalin bronze, sculpted by the infamously outcast Dumitru Demu and torn down in 1962 in a period of De-Stalinization, is equally fascinating, though subject to rumor. The original has by now almost certainly been melted down.

Painting seems to have returned from the dead, again. The frequent pronouncement that painting is dead, followed by the declaration of its eventual resurrection, is an important, but often overlooked part of the modern (and postmodern) artistic tradition.

There are particular states of mind that can be described only as some potential elsewhere, but can’t quite be defined, and that are experienced by creation, particular stimuli, and collaboration. This wording might invite a transcendent, spiritual, or otherwise elevated connotation.

Miami artist Nicolas Lobo is known for giving form to the invisible forces that surround our everyday. Interested in object-oriented thought, his production is both intellectual and process-driven, and his works have revealed interests in a diverse range of phenomena and materials—illegal and informal markets, go-go dancers, and civic infrastructure; concrete, terrazzo, and napalm; and cough syrup, soda, and perfume. For The Leisure Pit, on view at Pérez Art Museum Miami this spring, Lobo used a swimming pool as an outsize tool in an experimental, custom casting process to produce a series of sculptures made from concrete forms submerged underwater and cast inside the pool itself.