Samuel Gratacap in ‘Notions of Home’ at Yancey Richardson Gallery

Shot at Choucha, a Tunisian transit camp that has been a temporary home to hundreds of thousands of refugees, Samuel Gratacap’s stark image of cobbled-together UN tents speaks to the innovation and desperation of camp inhabitants. (At Yancey Richardson Gallery in Chelsea through Aug 25th).

Samuel Gratacap, Empire, refugee camp of Choucha (Tunisia, 2012 – 14), archival pigment print, 22 3/8 x 23 inches.

Charlotte Moorman in ‘The (Partial) Autobiography of an Art Gallery’ at Leslie Tonkonow Artworks and Projects

Charlotte Moorman’s renown as a performing artist who bridged the worlds of fine art and music via her cello is represented by her neon instrument from 1989. (At Leslie Tonkonow Artworks and Projects in Chelsea through August 25th).

Charlotte Moorman, Neon Cello, acrylic and neon, 50 x 16 x 13 inches, 1989.

Robert Strini in ‘So I traveled a great deal…’ at Matthew Marks Gallery

Though abstract, Robert Strini’s wooden sculptures resemble aliens or instruments or perhaps an instrument for an otherworldly creature. From the mid 70s, they mark a particularly fruitful chapter in Strini’s career after his move away from ceramics and before he expanded into bronze and multi-media works. (In Chelsea at Matthew Marks Gallery through August 18th).

Robert Strini, foreground: Sheridan Piece, wood, 42 ¾ x 94 x 59 inches, 1974 and rear: Goolagong, laminated wood, 58 x 98 x 133 inches, 1975.

Kathryn Andrews in ‘Fond Illusions’ at Perrotin

Kathryn Andrews’ ‘June 21’ is strangely cheerful, though balloons that were fresh on June 21st (the day Perrotin Gallery’s summer group show opened) have turned to a commentary on the passage of time. (On the Lower East Side through August 18th).

Kathryn Andrews, June 21, chrome-plated steel and balloons, 167.6 x 60.3 x 26.4 cm, 2017.

Guy Yanai at Ameringer McEnery Yohe

Tel Aviv-based artist Guy Yanai’s subject matter – houses, domestic interiors and portraits of plants – is sedate but his blocky, early video game aesthetic gives the paintings a jittery edge.   This plant appears to hover in space while reaching for the top edge of the canvas with an energy foreign to most potted plants. (In Chelsea at Ameringer McEnery Yohe through August 18th).

Guy Yanai, Palermo, oil on linen, 58.27 x 47.24 inches, 2017.