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Damian Ortega in ‘Panorama’ on the High Line

Mexican artist Damian Ortega finds a new to suspend his sculpture in space (last winter he created an explosion of tools at the Cooper Hewitt Museum) in this graffiti made of rebar, as if he’s managed to tag the sky. (On the High Line in Chelsea through March 2016).

Damian Ortega, Physical Graffiti #3, steel, 5 ft 10 ¾ inches x ¾ inches x 7 ft 9 ¼ in, 2015.

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China: Through the Looking Glass at the Metropolitan Museum of Art

One of the most divine dresses in the Metropolitan Museum of Art’s exhibition of China-inspired Western fashions is this evening gown by Guo Pei in the museum’s Chinese Buddhist sculpture galleries. Though the model’s dress incorporates a lotus throne like the sculpture, it doesn’t seem to advocate any rejection of worldly pleasures. (Through Sept 7th).

Guo Pei, Evening Gown, spring/summer 2007, Haute Couture, gold lame embroidered with gold and silver silk, metal and sequins.

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Teresita Fernandez, ‘Fata Morgana’ at Madison Square Park

Titled after mirages that form on the horizon line, Teresita Fernandez’ ‘Fata Morgana’ in Madison Square Park playfully imagines what it would be like to inhabit the mirage. Her sprawling, 500 foot long installation of golden, mirror-polished metal covers the park’s walkways, creating both a dappled pattern on the ground and a through-the-looking-glass effect in the reflective surface overhead. (Through winter ’15-‘16).

Teresita Fernandez, Fata Morgana, Madison Square Park, through winter 2015-16.

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Leonor Antunes at the New Museum

Inspired by film and fiber art, Portuguese artist Leonor Antunes’ site-specific installation at the New Museum turns hand-made, hanging forms into an architecture perceived by the body as it moves through the installation. (At the New Museum through Sept 6th).

Installation view of Leonor Antunes at the New Museum, July 2015.

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Pierre Huyghe at the Metropolitan Museum of Art

The most understated Met Museum Roof Garden commission in recent memory, French artist Pierre Huyghe’s installation features a chunk of bedrock set on the museum’s stone tile roof within site of a tank populated with primordial-looking tadpole shrimp. In contrast to the spectacle of luxury condo growth seen just south of the park, the low-key intervention on the Met’s roof is almost disorienting. Weeds sprouting from removed floor tiles suggest a dereliction far from the norm, a crack in the Met’s perfect public face. (At the Metropolitan Museum of Art through Nov 11th).

Pierre Huyghe, Roof Garden commission at the Metropolitan Museum of Art, 2015.