In the project 60 wrd/min art critic, writer Lori Waxman explores how art writing can serve an expanded field of artists—including those incarcerated, trying to gain visas, working to establish themselves professionally, or just wanting feedback for a secret hobby. For this iteration, Waxman reviews a recent MFA exhibition of Chicago-based artist Sascha Huth. Imprint (Bathroom; Chicago) sensitively casts the artist’s bathtub stall in gray PVA but appears as an abject mess of crumpled sheeting piled on the gallery floor. Untitled (Trainride) presents the route from downtown Chicago to Gary on two phone screens, one showing the journey there, the other back. As with everything here, it’s absolutely accurate but also determinedly bleak, practically begging the viewer to look past its restrained factuality to find something—anything—else.