Ian Mwesiga at FLAG Art Foundation

Forest mist and a pool’s smooth surface mirror each other in color and tranquility in Ian Mwesiga’s intriguing painting ‘Man and His Shadow’ at the FLAG Art Foundation, but the scene isn’t as peaceful as it first appears.  The work is a standout in the Kampala-based artist’s first New York solo show and one of several that feature pools of water as troubled places.  In one painting, a woman glides underwater while a friend acts as lookout under a ‘no swimming’ sign; in another piece, a corporate logo dominates the scene.  Here, the water looks least inviting for a dip, as fallen leaves indicate a change of season that might bring a chill to the air.  Standing between two cracked columns that suggest ruins and leaning on a more solid-looking, modern wall, a young man in swim trunks peels off a sock.  Apparently the sole agent who can decide how this scenario moves forward, viewers look to him, anticipating what will happen next.  (On view in Chelsea through May 4th).

Ian Mwesiga, Man and His Shadow, oil on canvas, 70 7/8 x 59 inches, 2023.

Dabin Ahn at 1969 Gallery

Inspired by traditional Korean ceramics, Chicago-based artist Dabin Ahn’s new paintings at 1969 Gallery combine art historical references with a feeling of wonder and whimsy.  Painted like an apparition, the top section of this vessel hovers in lighter tones above the more solid-looking segment below.  Perhaps once part of the decoration, the birds’ white wings continue the contour of the vase while they appear to cavort in mid-air.  Materializing as if from memory or history, the vase may be broken, but its magical quality remains.  (On view in Tribeca through April 20th).

Dabin Ahn, Phantom, 18h x 17w inches, oil on linen, 2024.

Maria Calandra at Fredericks & Freiser Gallery

Red-orange skies appear to be ablaze in Maria Calandra’s landscape painting of Weir Island in Maine while her blue skies over Como, Italy are a tranquil color but feature roiling clouds.  Apocalyptic in their color and Mannerist in their elongated forms, Calandra’s paintings at Fredericks & Freiser Gallery are hallucinogenic visions that offer visual pleasure via their dynamic fluidity.  Here, Mont Sainte-Victoire, made famous by Paul Cezanne’s many images of the mountain near Aix-en-Provence, rises above a field of flowers and greenery that appears to be flowing up the mountain.  (On view in Chelsea through April 13th.)

Maria Calandra, Mont Sainte-Victoire, acrylic on linen, 2023.

Kaloki Nyamai at James Cohan Gallery

Nairobi-based artist Kaloki Nyamai’s New York solo debut at James Cohan Gallery introduces an artist who uses acrylic paint, stitching and photo transfer to create complex surfaces that suggest complicated histories.  This painting’s title, ‘The one who stole my heart,’ features a figure leaning back into a man whose outward-looking eyes connect with our gaze.  In contrast to the couple’s intimate, relaxed moment, partially visible figures in the background raise their arms in what could be celebration or protest.  Elsewhere, photo transfers contrast happy moments of communal activity with news articles about political unrest as Nyamai juxtaposes the lives of individuals with larger social happenings.  (On view through May 4th).

Kaloki Nyamai, Ula wosiee ngoo yakwa II (The one who stole my heart), mixed media, acrylic, collage stitching on canvas, 2024.
Kaloki Nyamai, (detail) Ula wosiee ngoo yakwa II (The one who stole my heart), mixed media, acrylic, collage stitching on canvas, 2024.

Zaria Forman at Winston Wachter

Zaria Forman’s monumental polar landscapes, rendered in intricate detail in pastel, have afforded her national recognition and the chance to work with NASA as an artist.  In her latest solo show at Winston Wachter Gallery in Chelsea, Forman continues to capture the beauty of ice in renderings of an Icelandic glacial lagoon.  Fragments of ice washed ashore and resting on black volcanic sand look like jewels, while bubbles trapped in ice form a dynamic, abstract composition.  Forman’s focus is on the specifics of landscape vs the climate changes impacting it, and her work offers a moment to appreciate the sublime as it presently exists.  (On view in Chelsea through March 30th in SoHo).

Zaria Forman, Fellsfjara, Iceland, No. 5, April 22nd, 2022, soft pastel on paper, 40 x 51 1/8 inches, 2023.
Zaria Forman, (detail) Fellsfjara, Iceland, No. 5, April 22nd, 2022, soft pastel on paper, 40 x 51 1/8 inches, 2023.

Sarah Ball at Stephen Friedman Gallery

At over eight feet high, British artist Sarah Ball’s portrait of Elliot has stunning presence in Stephen Friedman Gallery’s Tribeca space. Drawn to young individuals whose self-fashioning demonstrates their creativity and defies gender norms, Ball meticulously renders details of face, hair and dress in an appreciation of each subject’s unique identity. (On view in Tribeca through March 23rd).

Sarah Ball, Elliot, oil on linen, 100 3/8 x 80 7/8 inches, 2023.

Silas Borsos at Nicelle Beauchene Gallery

‘Green Orchestra’ positions an apple, pear, watermelon and limes like a chorus line, while a mountainous pile of blueberries rises up behind four plums and half an apple in Silas Borsos’ paintings at Nicelle Beauchene Gallery. Featuring delightfully idiosyncratic arrangements of fruit that suggest table-top performances, Borsos’ paintings depart from traditional histories of still life in fanciful ways.   Here, ‘Orange Peel Pyramid’ presents a sole segment of orange leftover from an orgy of peeling, alongside five blueberries nestled as delicately as robin eggs in discarded pulp. (On view in Tribeca through April 6th).

Silas Borsos, Orange Peel Pyramid, oil on linen, 11h x 14w inches, 2024.

Vija Celmins, Snowfall at Matthew Marks

Titled ‘Winter,’ Viya Celmins first New York solo show in six years at Matthew Marks Gallery sees out the season with paintings featuring snow against dark backgrounds.  Those familiar with the artist’s signature subject matter may identify the work as a night sky painting for which she is renowned, but what look like stars are in fact flakes of snow.  Celmins has explained in an interview that she aims to wrestle something vast down into the space of the canvas, fixing it there.  The new snow-related paintings suggest she’s taken the universe and transposed it into something positioned right before our eyes.  In a further twist, the piece’s title, ‘Snowfall(coat)’ reveals that the snow is not actually seen in front of the darkness of night but has been pictured instead on a black coat. (On view in Chelsea through April 6th).

Vija Celmins, Snowfall (coat), oil on canvas, 19 5/8 x 13 1/8 inches, 2021 – 23.

Raymond Saunders at Andrew Kreps Gallery and David Zwirner Gallery

Thought-provoking and pleasurable as it was, Andrew Kreps Gallery’s 2022 exhibition of iconic west coast painter Raymond Saunders’ work turns out to have been just a taster for the artist’s tour de force three-gallery show now on view at Kreps and David Zwirner Gallery, curated by Ebony L. Haynes.  Known for poetic compilations of text, signage, drawing, and materials from everyday life, Saunders’ paintings – mostly from the 80s and 90s – show him making layered allusions to the act of art making.  In this untitled piece from the mid ‘90s, faint drips, frost-like paint marks and a huge white brushstroke bring to mind an artist’s stylistic options.  A monumental fruit at center seems to nod to still life tradition while a page from a text on how to build a flat human figure drawing model, positioned near a text giving instruction on how to play a game, slyly suggests a calculation of artistic success.  (On view through April 5th/6th).

Raymond Saunders, Untitled, acrylic, spray paint, chalk, collage, and mixed media on canvas, 23 ¼ x 20 5/8 inches, 1995.

Mernet Larsen, The Bathers at James Cohan Gallery

Fascinated for decades by Post-Impressionist artist Paul Cezanne, painter Mernet Larsen applies her own delightfully eccentric perspectival distortions to her French forebear’s iconic imagery in new work at James Cohan Gallery.  Larsen diversifies the cast of characters in ‘The Bathers (after Cezanne)’ adding bikinis to figures more robotic than robust and emphasizing artificiality in the human figures that replace Cezanne’s stabilizing triangle of trees in the original. A diving figure heading into flat waves akin to the slats in Japanese Bunraku puppet theater (which allow figures to move through water) and a woman to the left literally holding up the top of the painting add dynamism and complexity.  By alluding to Cezanne but shifting away from his focus and results, Larsen emphasizes the choices behind a painting’s design and nods to the many iconic painters who have moved beyond inspiration to find their own unique results.  (On view in Tribeca through March 16th).

Mernet Larsen, The Bathers (after Cezanne), acrylic and mixed media on canvas, 59 ¼ x 39 ½ inches, 2023.

Gerald Lovell, Portals (Cala Deia) at PPOW

Tourist photos of Cala Deia in Mallorca tend to focus on the picturesque geometries of limestone houses rising on the island’s hills.  New York-based painter Gerald Lovell’s on-the-ground version of the age-old village at PPOW Gallery instead ushers viewers up a hilly street.  Embraced between a rocky outcrop on the right and the warm tan colors of the buildings on the left, greenery on one side and characteristic green shutters on the other, a pedestrian might feel the upward pull of the narrow lane toward more discoveries. Lovell’s current solo show features paintings of his friends as well as his recent travels and, he explains, celebrates the life he is getting to live.  (On view in Tribeca through March 9th).

Gerald Lovell, Portals (Cala Deia), oil on pastel, 60 x 48 inches, 2024.

Maureen Gallace at Gladstone Gallery

Maureen Gallace’s signature small-sized oil paintings, now on view at Gladstone Gallery, are a welcome reprieve from February in New York, her renditions of bright yellow roadside flowers, the sun rising over Long Island Sound and crashing ocean waves promising that winter will eventually end.  Recent life changes find her living in a house by the beach in Connecticut where she takes account of her surroundings in paintings that isolate pleasurable impressions.  (On view through March 9th).

Maureen Gallace, Late August, oil on panel, 9 x 12 inches, 2023.

Glenn Kaino, Michael at Pace Gallery

Known for working in media including performance, film and theater, LA artist Glenn Kaino turns to portrait painting, small-scale sculpture of adapted samurai helmets and Japanese punch embroidery for his first major solo show at Pace Gallery.  Fresh on the heels of a soon-to-close exhibition at the Japanese American National Museum in LA for which he recreated his grandfather’s small East LA market, Kaino continues to probe his heritage as a Japanese American.  The show’s portraits aim to keep a record of community in the form of paintings of Kaino’s friends, musicians and people he meets.  (On view in Chelsea through Feb 24th).

Glenn Kaino, Michael, oil on canvas, 61 x 49 x 3 inches, 2023.

Lindsay Adams in ‘Arcadia and Elsewhere’ at James Cohan Gallery

Spread over James Cohan Gallery’s three spaces, the immensely enjoyable group exhibition ‘Arcadia and Elsewhere’ features paintings of nature from the realist to the abstract, the mundane to the sublime.  Many pieces portray idyllic natural landscapes, other scenes get more complicated, especially when humans or their traces appear. Here, Lindsay Adams’ Lonely Fire excites feeling through the fiery tones of the background and the lush colors of individual flowers that stand apart from each other while contributing to a whole that speaks to the beauty of variety. (On view through Feb 10th).

Lindsay Adams, Lonely Fire, oil on canvas, 60 x 72 inches, 2023.

Mika Tajima at Pace Gallery

Known for turning sound into image, Mika Tajima has gathered aural data from brain activity and turned it into visual information in her latest ‘textile paintings,’ now on view at Pace Gallery.  Produced by an experimental textile lab in the Netherlands, the monumental artworks juxtapose minute readings with expansive artworks, a nod to an individual human’s relative insignificance in the face of geological time and in relation to big data. (On view in Chelsea through Feb 24th).

Mika Tajima, Negative Entropy (Deep Brain Stimulation, Yellow, Full Width, Exa), cotton, polyester, nylon, and wood, 135 x 204 3/8 x 2 ¾ inches, 2024.

Kay WalkingStick at the New York Historical Society

Known for its outstanding collection of paintings from the Hudson River School, an early-to-mid 19th century movement that pictured the sublime in the landscape north of New York City, the New York Historical Society’s current exhibition ‘Kay WalkingStick / Hudson River School’ invites new perspectives on what is considered the first ‘American’ school of art.  Kay WalkingStick, an artist of Cherokee descent, has for decades researched Native American histories in locations around the country, picturing specific landscapes overlaid with designs from local indigenous communities.  Here, a Haudenosaunee pattern from the New York region indicates Native American presence in the landscape despite an absence of pictured people.  The museum pairs WalkingStick’s depiction of Niagara with one foregrounding the power of the Falls by Louisa David Minot, one of the few female Hudson River artists, who referred to the scene as representative of conflict between Britain, the US and Native Americans around the War of 1812.  (On view on the Upper West Side though April 14th).

Kay WalkingStick, Niagara, oil on panel in two parts, 2022.
Louisa David Minot, Niagara Falls, oil on canvas, 1818.

Jennifer Carvalho at Helena Anrather Gallery

Derived from art historical textbooks and web sources, Canadian artist Jennifer Carvalho’s painted remakes of medieval and Renaissance imagery now on view on the Lower East Side at Helena Anrather Gallery recontextualize ancient expressions of strong feeling or devotion.  Performing what the gallery calls ‘art historical archaeology,’ Carvalho digs up new meaning by cropping a face to put a focus on an abundance or tears or zeroing in on a hand supported by another person’s hands that foregrounds an emotive or tender moment.  Here, disembodied arms with hands in a pose related to mourning hover over a space featuring decorative gothic architecture and a curtained bed, foregrounding a surreal but expressive gesture in a space that combines both the public and private.  (On view through Dec 22nd).

Jennifer Carvalho, Clasped hands (study of mourning), oil on canvas, 2023.

Minako Iwamura in ‘Transcendence’ at JDJ Gallery

Work by sixteen artists in JDJ Gallery’s light-filled new Tribeca gallery space argues for the vitality and variety of abstract and near-abstract 2-D work by harnessing form, color and light to create alternative places and states.  Minako Iwamura’s selection of several small paintings on wood panel and larger works including Plexus (pictured here) speak to the New York-based artist’s interest in duality which she expresses by combining linear geometry and swelling, organic forms.  Alluding to the human form in their curving shapes yet transcending the corporeal with a network of thin, white lines that take the mind beyond the painting’s boundaries, Iwamura suggests a mind-expanding awakening. (On view through Jan 13th).

Minako Iwamura, Plexus, oil and white charcoal on cradled wood panel, 40 x 30 x 1.5 inches, 2023.

Derek Fordjour, CONfidence MAN at Petzel Gallery

Visitors to Derek Fordjour’s impressive multimedia exhibition at Petzel Gallery can enjoy two free, live performances daily, take in vibrant new paintings and walk through a magical, life-sized diorama.  By far the most entertaining show in a particularly rich moment in the Chelsea galleries, Fordjour’s ‘Score’ sinks it in the basket while questioning what success is.  Known for images of Black athletes and performers whose excellence lands them in complicated performative roles, Fordjour includes this loaded painting titled CONfidence MAN.  One of the most attractive pieces in an enticing new body of 2D work, this colorful portrait shows a dapper man surrounded by balloons.  Despite the dazzle, he is posed in front of a skull in the window behind him suggesting that customers might do well to be wary. (Show is on view through Dec 22nd, performances through Dec 16th.

Derek Fordjour, CONfidence MAN, acrylic, charcoal, cardboard, glitter, oil pastel and foil on newspaper mounted on canvas, 85 x 65 inches, 2023.

Calida Rawles at Lehmann Maupin Gallery

LA painter Calida Rawles’ realist paintings of women and girls submerged in water both clearly define their subjects and at the same time obscure them through shadow and reflection, suggesting a simultaneous state of knowing and unknowing.  Titled ‘A Certain Oblivion,’ Rawles first major solo show at Lehmann Maupin Gallery presents still and clean bodies of water that appear to offer a place of refuge, even therapy to women who float in or glide through the water, faces barely breaking the surface.  Yet several paintings come from source photos taken after dark and were even painted in low light in the studio, complicating and making uncertain the watery realms depicted.  (On view in Chelsea through Dec 16th).

Calida Rawles, We Knew It Was Coming, acrylic on canvas, 96 x 120 x 2 inches, 2023.

Dana Schutz at David Zwirner Gallery

The Face, one of the first works in Dana Schutz’s absorbing show of recent paintings and bronzes at David Zwirner Gallery, pictures a surreal scene of figures supporting and hiding under a huge mask.  Barely able to control the giant visage, one character bends over to pick up a rock, perhaps intending to fire it in anonymity at a foe (us?) from behind the face.  Rife with allegory, Schutz’ new work configures various groupings of individuals in unclear yet meaningful interactions – gathering to paint together, sitting on a couch as if on a talk show or clustered together in a circle, arms on shoulders.  Crowded into the picture plane, dynamic and rendered in vibrant colors, the figures recall not only the exaggerated features of Italian Commedia dell’arte masks but theatrical storylines that foreground human folly.  (On view in Chelsea through Dec 16th).

Dana Schutz, The Face, 108 x 138 inches, oil on canvas, 2023.

Farah Atassi in ‘The Echo of Picasso’ at Almine Rech

Fifty years after Picasso’s death, international gallery Almine Rech launches its new Tribeca space with ‘The Echo of Picasso,’ a group exhibition of work by contemporary artists whose work converses with their influential forebear.  Farah Atassi’s ‘Reclining Woman with Oranges’ at the gallery’s entrance juxtaposes various grids – rectangular picture frames, grey lines against a peach-toned background and angular patterns on the central figure’s dress – with curving, organic forms that include a chaise longue and scattered oranges.  In a show heavy on the human figure, artists from Karel Appel to Rashid Johnson explore contemporary consciousness through distortions pioneered in the early 20th century.  (On view through Dec 16th).

Farah Atassi, Reclining Woman with Oranges, oil and glycerol on linen, 63 x 78 ½ inches, 2023.

Katherine Bradford, In the Lake at Canada New York

New York painter Katherine Bradford’s swimmers – a recurring subject – include ephemeral, washy suggestions of submerged figures and bolder, mostly visible individuals standing still in the water.  New work at Canada in Tribeca favors more dominant figures, filling the space of the canvas with their solid forms and often expressionless faces.  ‘In the Lake,’ features individuals who float, walk or stand in dark water perhaps lit by the moon, each in their own space; with their arms outstretched, several figures appear to be relaxing while an orange-topped figure waits and a man starts to exit the scene to the right.  Bradford excels at complex realities, as past shows suggest – e.g. the terror and pleasure of waves in 2016 or the comforting and confining closeness of mothers and children in 2021.  Here, mostly placid faces suggest tranquility but closeness and individual isolation among the swimmers leaves room to wonder.  (On view through Dec 22nd).

Katherine Bradford, In the Lake, acrylic on canvas, diptych: 80 x 136 inches, 2023.

Martyn Cross at Marianne Boesky Gallery

Titled ‘All Shall Be Well,’ after a record of visions experienced by a medieval English religious recluse, British painter Martyn Cross’ show of mystical new paintings at Marianne Boesky Gallery emphasizes the connectedness of humans and nature.  Here, in ‘You and I Are Earth,’ the link is literal, with a seascape manifesting in human form; in other paintings, a root system morphs into an old man and a giant eye appears in the clouds.  Fresh from a residency on England’s fossil-rich southern coast, a UNESCO World Heritage site known as the ‘Jurassic Coast,’ Cross merely scratches the surface of deep time but prompts viewers to recenter their thinking about our relationship with the earth. (On view through Dec 22ndin Chelsea).

Martyn Cross, You and I Are Earth, oil on canvas, 86 ¾ x 63 inches, 2023.

Bo Bartlett at Miles McEnery Gallery

Underexposed to art as a kid and inspired by American painters like Andrew Wyeth and Norman Rockwell, Bo Bartlett has continued in a vein of realism that presents tantalizing, slightly surreal narratives.  In ‘La Corrida’ or ‘The Bullfight,’ a highlight of Bartlett’s current solo show at Miles McEnery Gallery in Chelsea, the toreador has fallen and the bull eyes the open gate from which the artist has perhaps dashed, leaving behind his jacket and materials.  Flecked with blood, the bull has been provoked and further disaster is coming; the absence of people leaves viewers to ponder the question of culpability.  (On view through Dec 9th).

Bo Bartlett, La Corrida, oil on linen, 88 x 120 inches, 2023.

Louis Fratino at Sikkema Jenkins & Co.

Surprisingly, Louis Fratino’s still lives can be the most dynamic of his works – a sink full of dishes or an arrangement of fish in a market stall appear as a jumble of curving or stacked forms in constant motion.  In ‘Latteria,’ from Fratino’s current show at Sikkema Jenkins and Co., the artist creates an intriguing balance of action and repose as he combines the bustle of the figures in the café, tables that tilt and floor tiles that rear up with the stillness of the central figure who sits with a quiet and pensive look.  (On view in Chelsea through Dec 9th).

Louis Fratino, Latteria, oil on canvas, 47 x 42 inches, 2023.

Rebecca Morris at Bortolami Gallery

In a recent interview, Rebecca Morris explained that color is the content of her painting.  On view through Saturday at Bortolami Gallery in Tribeca, Morris’ light pink, blue and green abstractions are easy on the eye, even when accented by attention-grabbing metallic colors.  All titled just with the date of their making, it’s up to the viewer to puzzle out how each artistic decision – the checkerboard pattern, the shape of each zone of color and the variety of pink tonal contrasts in Untitled (#04-23), for example – creates meaning and mood.  In this painting, Morris considers cultural values placed on color saying, “Gold makes pink important…Often pink is seen as pretty, and pretty gets devalued.”  In this opulent, complex and intellectually engaging painting, pink steals the show.  (On view through Nov 4th).

Rebecca Morris, Untitled (#12-23), oil and spray paint on canvas, 2023.

Scherezade Garcia at Praxis Gallery

Scherezade Garcia’s baroque paintings at Praxis Gallery of water-borne women are part of the ‘liquid turn’ or ‘blue humanities,’ explains Lesley A. Wolff in a gallery handout, a field of study that finds inspiration in the fluidity and transformative qualities of the sea. Characterized by their ‘cinnamon skin,’ which Garcia creates by mixing primary and secondary colors, and inspired by the artist’s female relatives, figures positioned directly in the water are a metaphor for ‘layered, fluid, transformative’ identities.  Surrounded by lush flower swags, ornate scrolling forms, decorative lace and gold – from decorative tiles at the top to a duck-shaped life preserver – each character’s ornate environment speaks to a complex, self-inventing identity. (On view through Nov 4th).

Scherezade Garcia, Harvest of the Sea, acrylic, pigment, charcoal, ink on linen, 84 x 180 inches, 2023.

Eamon Ore-Giron at James Cohan Gallery

Can a deity’s identity change over time?  Struck by Octavio Paz’s observation that interpretations of a sculpture of Coatlicue in Mexico City’s Museo Nacional de Antropologia have gone from “goddess to demon, demon to monster and from monster to masterpiece” in the centuries since Spanish conquest, Eamon Ore-Giron imagines contemporary identities for familiar divinities in new paintings, ceramics and textiles at James Cohan Gallery.  Here, in ‘Talking Shit with Mama Killa,’ Ore-Giron pictures the Incan moon goddess with her geometric fan-shaped crown creating angular and organic shapes that cover her upper head while the lower half of her face is transformed by triangular patterns and tear-like blue drops.  Characterized by angular features that appear to be morphing, this divinity’s identity is capable of shifting and updating by the moment.  (On view in Tribeca through Oct 21st).

Eamon Ore-Giron, Talking Shit with Mama Killa, mineral paint and flasche on canvas, 72 x 72 inches, 2023.

Toba Khedoori Paintings at David Zwirner Gallery

At one end of David Zwirner Gallery’s vast white cube space hangs a detailed painting of tangled, leafless branches by Toba Khedoori; across the room is the artist’s painting of a grid of variously hued blue rectangles.  In the juxtaposition of natural forms vs those that echo the built environment, Khedoori presents dichotomies of art practice: expressive freedom or impersonal rigidity.  While most imagery in Khedoor’s show is centered at the middle of large sheets of wax-coated paper, one painting of tall grasses offers linear forms arranged to depict wildness, bridging the dynamic and measured in one small canvas.  (On view in Chelsea through Oct 21st).

Toba Khedoori, Untitled, oil and graphite on canvas, 27 ½ x 24 ½ inches, 2023.

Nicolas Party at Hauser and Wirth Gallery

At the entrance to New York artist Nicolas Party’s exhibition of new work at Hauser and Wirth Gallery is a vividly colored, full-wall pastel painting of a forest fire.  A nearby drawing depicts a vulnerable-looking baby while further into the show, a tiny oil on copper painting of a dinosaur adds to a meditation on changes to the earth’s climate that forewarns an extinction event.  In this tiny triptych, Party repeats the forest fire imagery as backdrop to a portrait resembling a northern Renaissance devotional image, typically verdant and detailed-filled vistas replaced by destruction.  (On view in Chelsea through Oct 21st).

Nicolas Party, Triptych with Red Forest, oil on copper and oil on wood, open: 12 3/16 x 19 5/16 x 2 9/16 inches, 2023.

Roy Lichtenstein, Bauhaus Stairway Mural at Gagosian

Created for the atrium of the theatrical management agency Creative Arts Agency’s IM Pei designed headquarters in 1989, Roy Lichtenstein’s Bauhaus Stairway Mural dominates a single cavernous room at Gagosian Gallery in Chelsea.  Featuring the artist’s signature Benday dots and primary colors that imitate commercial printing techniques, the painting remakes Oscar Schlemmer’s famous 1932 painting of students at the Bauhaus, the famous pre-WWII German school of art and design.  Though the original was created in response to the Nazi closing of the school, Lichtenstein’s streamlined forms and bright colors on a huge scale suggest a more positive outlook on the upward movement of arts and ideas.  (On view through Dec 22nd).

Roy Lichtenstein, Bauhaus Stairway Mural, oil and magna on canvas, 26 x 5 ¾’ x 17’ x 11 ¾ inches, 1989.

Jeffrey Gibson at Sikkema Jenkins & Co

From its vibrant, patterned wall mural to the abundance of vivid paintings in saturated color, Jeffrey Gibson’s solo show at Sikkema, Jenkins & Co is one of the most eye-catching exhibitions in Chelsea. Titled ‘Superbloom,’ in reference to an especially bountiful appearance of wildflowers, the show features work in Gibson’s signature formats, including beaded punching bags, which invite admiration not violence, and patterned paintings recalling Native American design and bearing phrases taken from pop songs or various texts.  In this piece on painted elk hide titled and including the text SPIRIT AND MATTER, viewers encounter a central circular form recalling both a meditative diagram and a target.  (On view in Chelsea through Oct 21st).

Jeffrey Gibson, SPIRIT AND MATTER, acrylic paint on elk hide inset in custom wood frame, 2023.

Elise Ansel at Miles McEnery Gallery

Calling Old Master paintings her ‘powerful allies’ yet seeking to ‘shine a light on disparities’ in them, Elise Ansel considers the messages conveyed by iconic art historical works by reworking them as abstractions in new work at Miles McEnery Gallery.  A comparison of specific artworks, in this case, Paolo Veronese’s 16th century Allegory of Virtue and Vice and the similarly composed and colored piece by Ansel titled ‘Virture and Vice III,’ reveals how the colors of the original convey meaning; our eye is drawn to the hero at center, Hercules, as he flees the enticements and electric orange tones of the woman at bottom right for the more sober green color of Virtue.  (On view in Chelsea through Aug 31st).

Elise Ansel, Virtue and Vice III, oil on linen, 2023.

Nina Chanel Abney in ‘It’s Pablo-matic’ at The Brooklyn Museum

Just around the corner from Picasso’s etchings of muscular minotaurs hovering over vulnerable sleeping nude women in the Brooklyn Museum, Nina Chanel Abney’s ‘Forbidden Fruit’ features very different hybrid characters – some with tenacles coming from their heads, others with horns or hair.  Enjoying a moment of communal relaxation, Abney’s characters adopt a picnicking pose familiar from Manet’s Dejeuner sur l’herbe amongst other iconic artworks, while engaging a different kind of forbidden fruit – a selection of luscious watermelons, made sensitive because of their racist associations.  Both Abney and Picasso’s work feature in ‘It’s Pablo-matic:  Picasso According to Hannah Gadsby,’ a group exhibition which rethinks Picasso’s oeuvre via art by twenty and twenty-first century women artists whose work disrupts traditionally masculine modernism.  (On view through Sept 24th).

Nina Chanel Abney, Forbidden Fruit, acrylic on canvas, 2009 in ‘It’s Pablo-matic’ at the Brooklyn Museum, July 2023.

Frieda Toranzo Jaeger in ‘Distribuidx’ at Lisson Gallery

Inspired by Helio Oiticica’s practice, Lisson Gallery’s lively summer group show ‘Distribuidx’ includes art that sees bodies and spaces as changeable; further, the show’s theme posits that people can be represented by the things around us.  For Mexico-City based artist Frieda Toranzo Jaeger, cars represent the experience of navigating being queer and in this sculptural painting, the contradictions of our relationship to consumption and the planet.  In ‘Hope the Air Conditioning is On While Facing Global Warming (part I),’ a BMW i8 opens its wing-doors to reflect both the flowers blossoming on nearby trees and an inferno of burning buildings beyond the open doors. (On view through Aug 11th).

Frieda Toranzo Jaeger, Hope the Air Conditioning is On While Facing Global Warming (part I), oil on canvas, overall: 88 x 176 inches, 2017.

Matthew Fisher at Shrine Gallery

Matthew Fisher’s graphically pared down beach scenes at Shrine Gallery are as carefully arranged as a store-front display, puffy clouds even resembling cut-out, stage-set backgrounds.  Although the paintings suggest precise arrangements by an unseen hand, Fisher’s perspective is shaped by the understanding that nature predates and will survive humanity.  Here, ‘The Subject of a Dream’ features a dark void, presumably representing the earth, in which a fish and shell have been extracted from their natural context and offered as symbols for place.  Floating in space and outlined in a white border that further sets them apart, Fisher’s apparition makes the beach and its inhabitants strange, forcing a reevaluation of their existence in time and place. (On view in Tribeca through Aug 4th).

Matthew Fisher, The Subject of a Dream, acrylic on canvas, 2023.

Jana Euler in ‘Suncrush’ at Greene Naftali Gallery

Known for large paintings of plug sockets, phallic sharks rearing out of the ocean depths, surreally distorted human figures, multi-horned unicorns called ‘Morecorns’ and other uncanny imagery, Frankfurt and Brussels-based painter Jana Euler addresses power, gender and sexual relations with humor.  In the group exhibition ‘Suncrush’ at GreeneNaftali Gallery in Chelsea, Euler’s ‘Closed Circuit,’ connects a washing machine and a Canon camera by a flexible, fabric lens that joins the circular forms on the front of each device.  Each of the improbably joined devices suggest viewing – through a lens or window – but while the assumption is that the camera will be trained on something interesting, the washer recalls the banality of housework.  Together, the two elements of the painting suggest the coexistence of, or perhaps battle between, a tool’s potential for excitement vs drudgery.  (On view through July 28th).

Jana Euler, Closed Circuit, oil on canvas and artist’s frame, 60 ½ x 96 inches, 2023.

Graham Anderson at Klaus von Nichtssagend Gallery

Like an orderly stack of oranges in the supermarket, Graham Anderson’s new paintings at Klaus von Nichtssagend Gallery in Tribeca are both organic and curving, arranged with rigid geometry, just one contrast of many that generates visual interest and tempts exploration.  Some paintings feature a sheet of orange spheres – so orderly they appear stamped out – alongside circular forms with green leaves and shading that suggests natural citrus fruits.  Most contain areas of pointillist painting in orange, blue and white color that contrasts flat monochrome orange spheres with no shading.  In this painting, that dotted surface breaks up to reveal a background devoid of natural referents.  Christmas ornaments, planets, fruit, punctuation, billiard balls and more come to mind in a strange space ripe for invention.  (On view through July 29th).

Graham Anderson, Reflected Fortune, oil and acrylic on canvas, 26 x 18 ½ inches, 2023.

Kang Seok Ho at Tina Kim Gallery

The short lag times between reading late artist Kang Seok Ho’s paintings at Tina Kim Gallery as abstractions and then understanding them as representations of the human body generates little thrills of discovery.  In this untitled painting, the energy of the bold floral pattern is overwhelming; a second later, two arms to either side resolve vivid leaf-like shapes into the pattern on a skirt, seen from behind.  Abstraction becomes decoration, fine art becomes fashion, and flatness turns into curving form in just seconds while reading this vibrant and monumental painting.  In selected paintings from c. 20 years at Tina Kim, radical cropping (Kang worked from photos he took or found in mass media sources) allowed the artist to zero in on bodies without faces, the better to put the focus on form over identity.  Inspired by Asian landscape painting, Kang connected his contemporary vision of life with histories of rendering the natural world, rooting observations of the now with enduring imagery from the past.  (On view through July 29th in Chelsea).

Kang Seok Ho, Untitled, oil on canvas, 92 ½ x 80 ¾ inches, 2005.

Eden Seifu at Deli Gallery

Self-taught young Seattle-based painter Eden Seifu’s second solo show at Deli Gallery in Tribeca pits joy against terror in spiritually-oriented paintings brimming with energy.  In ‘Our Joined Hands Make a Landing Strip for Angels,’ a loving couple’s clasped hands create a pathway in the air on which tiny angels dance while ‘I Don’t Care if the Black Dog Gets Me’ pictures the horror of an attack on a young woman.  Here, the title figure in ‘The Angel of Pilgrimage’ holds a shell, a symbol for the Camino de Santiago pilgrimage in Spain, reminding viewers of the pathways on which we all, with more or less awareness, tread. (On view through July 21st).

Eden Seifu, The Angel of Pilgrimage, acrylic on canvas, 28 x 22 inches, 2023.

Julia Felsenthal at JDJ Gallery

Julia Felsenthal is the first to acknowledge that many artists before her have painted the sea, while also observing that, even in her own production, each rendition is different.  The Brooklyn and Cape-Cod based writer and painter tempts viewers to stop in front of each of her small watercolor on gouache studies of sky and water at JDJ Gallery in Tribeca to appreciate the various effects of light, mist, cloud, sunrise, water depth and more.  Sublime in power yet compact in form, Felsenthal’s waterscapes speak to the endless beauty and fascination of the ocean.  (On view through July 21st).

Julia Felsenthal, Glinting Sea, watercolor and gouache on paper, 12 x 9 inches, 2022.

Markus Linnenbrink at Miles McEnery Gallery

Stripes run across the walls, down the paintings and around a ball-like sculpture in Markus Linnenbrink’s explosively colorful show at Miles McEnery Gallery in Chelsea. Painted in two days, a dripping horizontal pattern across the gallery wall sets off Linnenbrink’s signature candy-colored works in epoxy resin and leads the eye back into the gallery toward a variety of work created by building up or cutting into layers of solidified epoxy resin.  In the foreground, a ball made from layers of cast resin encases discarded ephemera from everyday life gathered by friends and family of the artist, a happy emblem of experiences accumulated along life’s way. (On view in Chelsea through July 22nd).

Markus Linnenbrink, COLDWORLDGOODMANBITEBACK, epoxy resin, pigments, objects, 36 inches diameter, 2023.

Quentin James McCaffrey at Nicelle Beauchene Gallery

Never much more than a foot high, Quentin James McCaffrey’s small paintings at Nicelle Beauchene Gallery encourage viewers to draw close and peer into imagined domestic interiors that act as portals into other times and places. Here, ‘Mirror with a View’ presents us with a mirror (or is it a painting of a mirror’s reflection?) that reflects not us but a view of a landscape through a door, a painting of clouds on the domed ceiling and four paintings that lead the eye into other landscapes.  Though McCaffrey offers a profusion of exits via paintings, ceiling and door, the diminutive size of each limits our fantasy escape, instead underscoring the tantalizing possibilities of illusion.  (On view through July 7th).

Quentin James McCaffrey, Mirror with View, oil on canvas over wood panel, 16 x 13 x 1 ½ inches, 2023.

Kristen Sanders at Asya Geisberg Gallery

At what point in human development did we become self-aware? This question absorbs Kristen Sanders in new paintings featuring mask-like faces in pre-historic natural environments at Asya Geisberg Gallery in Chelsea.  Interested both in the initial development of human consciousness and its current potential for manifestation via AI, Sanders visages look as if they’ve been peeled from contemporary mannequins and abandoned in ancient shell-strewn, rocky coastal scenes.  In this haunting image of a floating head titled ‘Middle Paleo,’ long lines across the face could reference the first deliberate marks made in sand by protohumans (a Sanders preoccupation), drips of a strange liquid or slash marks.  The ambiguity is provocative, highlighting the figure’s artificiality and strangeness and acknowledging the difficulty of reconciling such vastly distant eras of human development.  (On view in Chelsea through July 8th).

Kristen Sanders, Middle Paleo, acrylic on canvas, 60 x 40 inches, 2022.

Bob Thompson at 52 Walker and Michael Rosenfeld Gallery

Bob Thompson’s 1965 painting ‘The Swing’ at 52 Walker resembles Jean-Honore Fragonard’s famous 18th century rendering of a finely dressed young woman on a swing and her lover gazing up at her from below but radically shifts the focus and intent.  In Thompson’s characteristic style, the figures are monochromatic and nude, the eroticism of the female character emphasized by the outline of a breast and the complicity of the two men suggested by their common red color.  The man who controls the swing is no longer hidden by foliage, instead playing a clearer role in the flirtation going on between the other two characters. Likewise, Fragonard’s barely noticeable lake in the background turns into a waterfall, two pink putti are locked in a more ambiguous embrace and the swing’s rope more clearly and menacingly encircles the branches above.  In exhibitions of work from Thompson’s brief career (he died just shy of his 29th birthday in 1966) at 52 Walker and at Michael Rosenfeld Gallery, the artist delves into European art history, clarifying some elements of iconic works and making others ambiguous to provocative effect. (On view in Tribeca at 52 Walker through July 8th and in Chelsea at Michael Rosenfeld Gallery through July 7th).

Bob Thompson, The Swing, oil on canvas, 49 x 36 inches, 1965.

Seth Price, Weeptober at Petzel Gallery

Seth Price starts many pieces in his show of new work at Petzel Gallery by working with an AI to generate an image, which he prints onto a surface and embellishes with paint, applied by brush or his own body.  He photographs what he’s created, then uses software to add virtual objects to the digital image.  Finally, he prints these later additions back onto the original painting in a back and forth digital/analogue process that foregrounds the collaboration between artist and machine.  The depth in many images is created by metallic, cylindrical shapes that disrupt easy reading of a flat, painted surface and create visual interest in this arrestingly unusual body of work. (On view in Chelsea through June 3rd).

Seth Price, Weeptober, acrylic paint, generatively produced image reverse-transferred into acrylic polymer, and UV-print on aluminum composite, 96 x 76 1/8 x 1 inches, 2022-23.

Takako Yamaguchi at Ortuzar Projects

Situated between landscape painting and pattern-driven abstraction, Takako Yamaguchi’s new paintings at Ortuzar Projects in Tribeca are a beautiful and dynamic stylization of nature.  This coastal scene features two swirls of clouds or waves, rising up to form an Ionic column over a tranquil sea.  Below, the painting’s sense of space is complicated by a band of crisp wave forms while a glowing metal leaf triangle at top right further disrupts a realistic, 3-D rendering of space.  Titled ‘Pivot,’ the painting’s constant perspectival shift rewards continued looking.  (On view through June 13th).

Takako Yamaguchi, Pivot, oil and metal leaf on canvas, 60 x 40 inches, 2022.

Tim Gardner Solo Show at 303 Gallery

A gold panner in moonlight, a lone boy at a scenic outlook and a camper van headed into the mountains were some of the evocative but lonely subjects of Canadian artist Tim Gardner’s last solo show at 303 Gallery, created during the days of pandemic isolation.  His new watercolor and ink paintings at 303 have subtracted humans from the picture entirely, instead featuring horses, police bikes (minus riders) and flowers.  While the bikes beg the question of where the humans are, Gardner’s horses and flowers have a powerful and lively presence of their own. Here, a cluster of tulips sways in unison, a welcome pronouncement of the arrival of spring and nature’s beauty.  (On view in Chelsea through May 25th).

Tim Gardner, Untitled (garden), watercolor and ink on paper, 11 x 13 ½ inches, 2023.

Ho Jae Kim at Harper’s Gallery

Ho Jae Kim’s new paintings at Harper’s Gallery in Chelsea manifest a divine light perceived just beyond reach through archways or stage backdrops.  As he was preparing work for this show, this young Brooklyn-based artist’s step-father ended his own life, prompting Kim’s desire to help his family heal and appreciate the beauty of life.  Inspired by Dante’s vision of supernatural light as he ascended from the Inferno to Purgatory in ‘The Divine Comedy,’ Kim announces the arrival of hope through floods of bright color that counter the literal deep waters surrounding the marooned character in this painting.  (On view through May 6th).

Ho Jae Kim, Day 19: Wilson, oil, inkjet transfer, enamel and paper on canvas, 2023.

Clare Rojas at Andrew Kreps Gallery

The title of Bay Area artist Clare Rojas’ show at Andrew Kreps Gallery, ‘Go Placidly,’ captures the quiet and restrained feel of paintings featuring a reserved, dark-haired woman.  It also casts an ominous pall on this painting, ‘They Were Both Stuck Inside,’ in which it appears that a woman who has fallen from a ladder (perhaps in an interaction with the bird in the background) has ‘gone’ in a final way.  Complicated by a tiny mosquito which has landed on the woman’s leg, the painting’s narrative – perhaps best explained by a book on the back table titled ‘The Same Old’ – suggests that sometimes the unexpected arrives in a profoundly impactful way.  (On view through May 6th).

Clare Rojas, They Were Both Stuck Inside, oil on linen, 60 x 43 1/8 inches, 2022.

Alice Tippit, I Sea at Nicelle Beauchene Gallery

Alice Tippit’s pared-down, graphically bold paintings – now on view at Nicelle Beauchene Gallery – feature clearly defined objects seen in silhouette, yet they are deliberately difficult to read.  Carefully chosen titles add to the ambiguity and to the sense that the potential meaning behind each painting is a puzzle to be cracked.  This painting’s blue/white color scheme hints at icy ocean depths alluded to in the title ‘I Sea,’ which is also reminiscent of the frosty response, ‘I see.’  Balance creates additional drama as a floating hammer supports a possibly fragile vase on which rests a cigarette that recalls a smoking gun.  (On view in Tribeca through April 29th.

Alice Tippit, I Sea, oil on canvas, 18h x 15w inches, 2022.

Arturo Kameya at GRIMM Gallery

Titled ‘The UFOs,’ Peruvian artist Arturo Kameya’s new show at Tribeca’s GRIMM Gallery conveys an otherworldly atmosphere through dark-toned paintings (made more subdued by mixing paint with clay powder) that tell strange tales.  A man buried alive attracts the attention of news crews in one image while an ancient Peruvian mummy emerges from a cooler bag in another.  Even the everyday can seem bizarre as a roach sits up, eating from a tiny plate in one picture while in another, a shower-head/water heater dangerously mixes water and electricity.  Here, a planter cut and painted to resemble a swan seems to come to life to sip water from a leaky hose that has morphed into a fountain, blurring the lines between the real and man-made nature. (On view through May 6th).

Arturo Kameya, Swan Lake, acrylic and clay powder on canvas, 29 5/8 x 25 5/8 x 1 ½ inches, 2023.

Kennedy Yanko at Deitch Projects

A quote from John Cage at the entrance to Kennedy Yanko’s show at Deitch Projects declares that silence doesn’t exist; even if nothing at all can be heard, the sounds of the body’s systems functioning will advance themselves.  Yanko’s new sculptures likewise assert the aesthetic potential of humble materials: dried sheets of paint and found metal.  In their contrast between smooth and rough surfaces and complementary colors like the green and purple, sculptures like ‘An Ode to Hugs’ (pictured here) are driven by Yanko’s intuitive method and for her, the ‘livingness of her medium.’ (On view in SoHo through April 22nd).

Kennedy Yanko, An Ode to Hugs, paint skin, metal, 97 x 94 x 42.5 inches, 2023

Josephine Halvorson, Disconnect Box at Sikkema Jenkins

Josephine Halvorson can turn the most mundane roadside object, from discarded refuse to aged signage, into an object worthy of contemplation.  In her latest solo show at Sikkema Jenkins & Co titled ‘Unforgotten,’ the Massachusetts-based painter zeros in on remnants from the past, including a tumbleweed, a neglected work bulletin board and this rusted disconnect box.  A pleasingly symmetrical pattern of circular holes coexists with bullet holes, both of which let the late day sunlight pass through to create bright ovals of orange light.  The umber tones in the box and the landscape contrast a cloudless blue sky, adding beauty to a setting that few would value.  (On view in Chelsea through April 22nd).

Josephine Halvorson, Disconnect Box, acrylic gouache on panel, 32 x 26 inches, 2022.

Albert Oehlen at Gagosian Gallery

German painter Albert Oehlen’s continuously morphing style has been associated with ‘bad painting’ and a sense of being “on the way to becoming something else,” two qualities which linked him in his mind to another celebrated and influential artist, Paul McCarthy who he has invited to show with him now at Gagosian Gallery.  Oehlen’s new work features a recurring abstracted form resembling a corporate logo, a modified pi symbol or, in proximity to the figurative sculpture by McCarthy, a squat torso with two long legs.  Seen in various color combinations and even as a cast aluminum sculpture, the form merges with or boldly erupts from fields of gestural abstraction.  Here, the ambiguous shape appears defaced by paint, a suggestion that the medium still has power to shake things up.  (On view in Chelsea through April 22nd).

Albert Oehlen, Omega Man 15, acrylic and oil on canvas, 2021.

Saif Azzuz at Nicelle Beauchene Gallery

After traversing a mini-maze of metal barricades decorated with sharply cut outlines of foliage, visitors to Saif Azzuz’s installation in Tribeca at Nicelle Beauchene Gallery reach a painting of an idyllic scene representing downtown Manhattan prior to European arrival.  Inspired by his Yurok family’s connection to the land in California, Azzuz considers how access to and use of the land has shifted over time around what’s now Collect Pond Park, once downtown’s major source of drinking water and now an area occupied by Manhattan’s vast court buildings and jail.  (On view through March 25th).

Saif Azzuz, installation view of ‘Says Who,’ featuring (back wall) Under the willow tree (let the earth stabilize your postcolonial insecure jitter), acrylic on canvas, 96 x 160, 2022.

Mark Thomas Gibson at Sikkema Jenkins & Co

Mark Thomas Gibson’s new paintings at Sikkema Jenkins & Co feature hands, feet and legs but no full figures, a selective focus that ominously suggests multiple players unknown to us and perhaps to each other. White hands clasp in prayer, proffer a rope-bound fist or a broken wristwatch while a solitary Black hand holds a critical theory text by Achille Mbembe about democracy under threat.  All the while, menacing cartoonish whistles sound their warnings amid a leaking system of pipes in a cacophonous mele that seems about to explode. (On view through March 11th).

Mark Thomas Gibson, All A Go (Steampipes and Hands), ink on canvas, 66 1/8 x 86 ¼ inches, 2022.

Cannupa Hanska Luger at Garth Greenan Gallery

Only a year and a half ago, Cannupa Hanska Luger’s standout show at Garth Greenan Gallery presented costumes and video that posited Native American practices of adaptability in the environment as a model in a world increasingly effected by climate change.  Luger’s back again already with a strong new body of work that reminds viewers of Native American ingenuity via a series of paintings in the form of large-scale tipis, which the gallery calls ‘spaces of resistance.’  Decorated with graphics reminiscent of art painted on WWII airplanes – large eyes and a set of shark teeth – the tipis are ironically not tools to alter or possess the land but instead to remain mobile within it.  (On view through Feb 25th).

Cannupa Hanska Luger, Blood Lust, acrylic on canvas and mixed media, 109 x 190 inches, 2022.

Mikey Yates in ‘The Midnight Hour’ at The Hole

Young Kansas City based artist Mikey Yates, whose ‘Summer Walker’ is a standout at The Hole’s current night-themed group exhibition, paints tranquil scenes that include a family making art together at the dining room table and women chatting at night on a rooftop.  Such scenes – whether populated by solitary people or multiple individuals – argue the pleasures and importance of domestic life.  Though the individual in this painting walks alongside a highway in relative isolation, light from the streetlamp, a yellow hydrant and glowing neon sign in the distance create a sense of well-being and purpose.  (On view through Feb 18th).

Mikey Yates, Summer Walker, oil, acrylic and oil stick on canvas, 40 x 30 inches, 2022.

Katherine Bernhardt at Canada NYC

Known for the ‘stupid, crazy, ridiculous, funny patterns’ (a 2014 show title) of her paintings, Katherine Bernhardt’s new work at Canada NYC continues to amuse with repeating images of Bart Simpson at his most irreverent.  Dropping his shorts and flanked by two giant smoking cigarettes, the day-glo cartoon character is an emblem of provocation and yet hard to take seriously. Bernhardt finds more contrast in each paintings’ combination of street-art channeling spray-painted outlines vs washy acrylic staining that signals considered painterly abstraction.  To those who might worry about the seriousness of Bernhardt’s series, the painting’s title applies: ‘Don’t have a cow, man.’ (On view through Feb 25th).

Katherine Bernhardt, Don’t have a cow, man,’ acrylic and spray paint on canvas, 60 x 48 inches, 2022.

Marlon Mullen, Untitled at JTT Gallery

Marlon Mullen‘s paintings, now on view at JTT Gallery, take imagery from art magazine covers and other art-related publications and filter it, altering graphic elements and text to transform the original image into something highly personal.  An artist with autism spectrum disorder who does not communicate verbally, the import of Mullen’s carefully rendered text is amplified.  Mullen’s project is also poignant for its focus on images – magazine covers – that have a great deal of cultural importance when fresh but are quickly replaced by new images/covers.  With his bold and imaginative interpretations, Mullen extends the life of these moments in art history while forcing recognition of their fleeting relevance.  (On view in Tribeca through Feb 11th).

Marlon Mullen, untitled, acrylic on canvas, 48 x 40 inches, 2022.

Cynthia Talmadge at Bortolami Gallery

The streetscape in this painting by Cynthia Talmadge at Bortolami Gallery is a rendition of the gallery’s actual Tribeca location, but created in a pointillist painting style, the place doesn’t quite seem real.  Appropriately, each picture depicts a scene in the imagined life of ‘Alan Smithee,’ a pseudonym used in place of a real film director’s name when (s)he has lost creative control of a film and disowns it.  Talmadge pictures Smithee in various Hollywood haunts (the Scientology Celebrity Center, the Beverly Hilton) and later in New York as he ditches his west coast lifestyle and disastrous film career in favor of a shot at Broadway.  Redemption eludes Smithee but the story – also told with details of Smithee’s life on the cover of various issues of Playbill – entices with its conflict between big dreams and dashed hopes.  (On view in Tribeca through Feb 25th).

Cynthia Talmadge, Maserati (39 Walker), oil and canvas with wood frame, 30 x 24 inches, 2022.

Wael Shawky, Isles of the Blessed XII at Lisson Gallery

Egyptian artist Wael Shawky once said that “…art should be running after our own ignorance…” explaining that his artistic project arises from learning, particularly about how history has been constructed.  In ‘Isle of the Blessed,’ the Egyptian artist’s current solo show at Lisson Gallery, Shawky presents a single-channel film and accompanying paintings that consider Greek mythology’s explanation of place names (e.g. Europa) as a way of deriving fact from fiction.  Mysterious, cartoonish and a little haunting, paintings such as this one, ‘Isles of the Blessed XII,’ explore the boundaries between the fantastical and the real.  (On view in Chelsea through Jan 14th).

Wael Shawky, Isles of the Blessed XII, oil on canvas, 16 x 20 1/10 x 3/5 inches, 2022.

Rico Gatson at Miles McEnery Gallery

Like two huge eyes or dual portals into the unknown, Rico Gatson’s ‘Untitled (Double Consciousness)’ is dominated by two intersecting sets of concentric circles, a repeated motif in his current show of painting titled ‘Spectral Visions’ at Miles McEnery Gallery.  The work’s title suggests a simultaneous looking outward and inward; its vibrant color indicating a state of heightened awareness.  Inspired by mathematician Ron Eglash’s study of fractal forms found in African patterns and spiritual expressions in the work of artists like Hilma af Klint and Emma Kunz, Gatson harnesses geometry to express kinds of order that exist beyond the conscious realm. (On view through Jan 28th).

Rico Gatson, Untitled (Double Consciousness), acrylic paint and glitter on wood, 36 x 48 inches, 2022.

Ariana Papademetropoulos at Vito Schnabel Gallery

Taking inspiration from medieval tapestries including ‘The Hunt of the Unicorn’ at the Met Museum’s Cloisters, Ariana Papademetropoulos’ new paintings at Vito Schnabel’s Chelsea gallery feature a unicorn that struggles towards its own unique experience of freedom.  Here, set in a Renaissance-era wood paneled room, the mythical creature – who the artist sees as an alter-ego – rests on a bed that is simultaneously a watery landscape.  This glimpse into a parallel world and the mirror with an emerging face on the left of the painting suggest that the unicorn may have escape portals that will allow it to slip its confines. (On view in Chelsea through Jan 7th.  Note holiday closures this week.)

Ariana Papademetropoulos, Horror Vacui, oil on canvas, 91 ¾ x 108 ¼ inches, 2022.

Glenn Brown Paintings at Gagosian Gallery

Against a hazy, apocalyptic landscape, two conjoined heads rise from a spindly stalk of a neck in this painting by Glenn Brown at Chelsea’s Gagosian Gallery, their downward facing gazes suggesting the demure demeanor of women meant to be looked at.  The noir-romantic landscape and the women’s postures and youthful European features are recognizable from western art history.  But self-consciously constructed in individual brushstrokes of multicolored paint, they forgo the illusion of reality.  Positioned half in shadow, half in light, one with a halo, one without, Brown both withholds and illuminates their identities in a way that suggests constant morphing.  (On view in Chelsea through Dec 23rd).

Glenn Brown, We’ll Keep on Dancing Till We Pay the Rent, oil on panel, 78 ¾ x 55 ½ inches, 2022.

Firelei Baez, Olamina at James Cohan

Flowers, hair and a voluminous white dress obscure the features of the figure reclining across this densely patterned painting by Firelei Baez at James Cohan Gallery.  The title refers to Olamina, the highly empathic fictional character imagined by sci-fi novelist Octavia Butler, but here, the figure seems unburdened by her gift or our gaze.  Printed below the paint, on the canvas itself are numbers, a grid and a timeline that suggest the maps and documents that Baez frequently adopts and obscures as she brilliantly and flamboyantly asserts her own imagery over outmoded Euro-centric presentations of information.  (On view in Tribeca through Dec 21st).

Firelei Baez, Olamina (How do we learn to love each other while we are embattled), oil and acrylic on archival printed canvas), 86 3/8 x 114 ½, 1 ½ inches, 2022.

Kerry James Marshall, Exquisite Corpse at Jack Shainman

A pot of gold in this new painting by Kerry James Marshall symbolizes good fortune but rests near a skeleton’s arm, suggesting that someone’s luck has run out.  Such contrast is at the heart of the artist’s new show, Exquisite Corpse, at Jack Shainman Gallery in Chelsea. Titled after the Surrealist game invented in the 1920s, each of the exhibition’s drawings and paintings are divided into three or four rectangular zones and appear to have been completed by separate individuals who had no knowledge of what was drawn or painted by the previous game participants.  The conceit might seem humorous at first – Marshall winkingly signed his own name different ways and suggests that he’s playing a game in this series.  But operating with no knowledge of the past can have implications if the stakes are higher than a fun time with friends.  Beauty ideals, a (disappearing) house, or a pot of gold are mirage-like, unstable symbols, offering food for thought about contemporary life and perceptions.  (On view through Dec 23rd).

Kerry James Marshall, Untitled (Exquisite Corpse Pot of Gold), acrylic on PVC panel, 2021.

Pat Steir at Hauser & Wirth Gallery

A record number of monumental paintings are dominating Chelsea galleries this month; at just over thirty-seven feet long, Pat Steir’s ‘Blue River’ at Hauser & Wirth Gallery is one of the largest and most absorbing.  Painted in 2005 and hung along more recent work, the gallery explains that the piece is intended to point viewers’ minds toward the vastness and power of the universe.  Washes of blue and white running down the canvas suggest a waterfall while a red border to one side evokes a stage curtain, nodding to the fact that this extremely large rendition of a natural scene is filtered through human imagination.  (On view through Dec 17th.)

Pat Steir, installation view of Blue River, Hauser and Wirth Gallery, Nov 2022. Blue River, oil on canvas, 135 ¼ x 447 inches, 2005.

Betty Woodman at David Kordansky Gallery

“I do like extravagance, so if I’m going to err, I usually err in that direction,” Betty Woodman once said in a recorded interview as she explained the processes behind her exuberant ceramic sculpture.  David Kordansky Gallery’s current show of Woodman’s work from the ‘90s demonstrates the artist’s unconventional take on painting, ceramics and sculpture, including this lively piece, ‘Sala da Pranzo.’  Elaborate handles create a striking silhouette and call attention to the space beyond the conventional cylinder, a vessel that could hold flowers but better acts as a surface for painting.  Among the abundant patterns are foliate shapes and scrolls against an orange background, recalling Greek motifs, and large circles that suggest stylized neolithic pottery designs. (On view in Chelsea through Dec 17th).

Betty Woodman, Sala da Pranzo, glazed earthenware, epoxy resin, lacquer and paint, 25 ¼ x 32 x 10 inches, 1995.

Joan Mitchell at David Zwirner Gallery

David Zwirner Gallery’s current exhibition of work from museum and private collections by Joan Mitchell celebrates the late second generation abstract expressionist painter’s ability to suggest emotive landscapes through unique consideration of figure-ground relationships and bold color choices.  ‘Before, Again I’ from 1985 includes both orange tones that dominated her paintings in the early 80s and the cooler colors that evolved as a result of health challenges later in the decade.  Both palettes point to the inspiration she found in her gardens in Vetheuil, a town once home to Impressionist painter Claude Monet.  (On view through Dec 17th).

Joan Mitchell, Before, Again I, oil on canvas, 109 ½ x 78 inches, 1985.

Anselm Kiefer, Danae at Gagosian Gallery

Gagosian Gallery’s enormous Chelsea space seems made to accommodate the monumental scale and theme of Anselm Kiefer’s latest paintings, which address contemporary migration via reference to Greek mythology and the Biblical exodus.  The title of this over 43’ long painting, ‘Danae,’ refers to the Greek myth of Zeus manifesting as a shower of gold to visit the imprisoned Danae, a liaison which resulted in the birth of their son, Perseus.  Here, a cloud of gold hovers above the cavernous hangar of Berlin’s now-closed Tempelhof Airport, a space that has been used to house refugees, as if to rain blessing on the imperiled populations that have taken refuge there. (On view through Dec 23rd).

Anselm Kiefer, Danae, emulsion, acrylic, oil, shellac, gold leaf, coal, metal and wires on canvas, 149 5/8 x 523 5/8 inches, 2016 – 2021.

Allison Schulnik at PPOW Gallery

Set off against purple and pink walls at PPOW Gallery, Allison Schulnik’s paintings of night visitors to her property in Sky Valley, California convey the mystery and intrigue of the owls, bobcats and foxes that make the desert their home.  The animation ‘Purple Mountain’ – the title piece for the show, created from 675 gouache on paper paintings – features distant San Jacinto Peak in a blaze of glorious light conditions.  By contrast, this bobcat and other animals appear to have been glimpsed briefly in a flash of light against the dark of night; rendered in Schulnik’s signature impasto style, they convey a sense of immediacy and power through their expressive rendering. (On view through Dec 10th).

Allison Schulnik, Water Plate Bobcat #1, oil on canvas stretched over panel, 48 x 60 in, 2021.

Angel Otero at Hauser & Wirth Gallery

Featuring a piano from his studio, a former church building in the Hudson Valley, this vibrant painting by Angel Otero is a standout among his new work at Hauser & Wirth Gallery.  Otero once created abstract images from sheets of dried oil paint; he now employs a combination of techniques from paint on canvas to collaged paint, resulting in thick, complex surfaces that suggest layers of memories.  Inspired by recollections of his upbringing in Puerto Rico, ‘Concerto’ acknowledges the personal resonance of objects like dentures in a glass, a large cooking pot or the magical suggestion of a school of goldfish filling the air.  (On view in Chelsea through Dec 23rd).

Angel Otero, Concerto, oil paint and fabric collaged on canvas, 95 x 95 x 1 ½ inches, 2022.

Gladys Nilsson, Wheee at Garth Greenan

Twenty-six vividly colored new watercolors by Gladys Nilsson lining the walls of Garth Greenan Gallery are an intense dose of visual pleasure and irreverent fun.  In this piece titled ‘Wheee,’ Nilsson tones down her focus on the body parts we tend to keep private (with the exception of a prominent derrière), instead featuring a large figure in jester-like clothes who dangles from a fleshy-pink tree branch. From on high, the individual above makes eye contact with a similarly boneless-looking character below, each as curious about each other as they are to us.  (On view in Chelsea through Dec 17th).

Wheee, watercolor, gouache, and pencil on paper, 30 x 22 ¾ inches, 2021.

Pamela Jorden, Noisetone at Klaus von Nichtssagend

Two strikingly different semi-spherical paintings appear to join together to provocative effect at the center of ‘Noisetone,’ one of Pamela Jorden’s new abstractions at Klaus von Nichtssagend Gallery in Tribeca.  Both created from washes of paint and featuring a curving arch at the top like a dip in a wave or a celestial sphere, the palettes of each half create divergent moods that suggest different light conditions and landscapes.  Purple and pink washes of color on the left uplift an otherwise bleak scene and off-set an overpoweringly rich combination of blue, green, red and yellow to the right.  (On view through Dec 10th).

Pamela Jorden, Noisetone, oil and acrylic and linen, 80 inch diameter, 2022.

Emily Mae Smith at Petzel Gallery

Inspired by the manically busy brooms in Disney’s Fantasia, Emily Mae Smith’s recurring broom character is set apart – an individual posing with tense self-assurance in several of the artist’s new works now on view at Petzel Gallery.  Initially, Smith saw the brooms as representative of unrecognized female labor; separated from the pack, they become lone underdogs constructed from the discards of wheat production but forming identities of their own. This figure is host to two mice on her legs and birds and a squirrel on her head, offering sanctuary and even enduring abuse as part of her relationship to nature.  (On view through Nov 12th).

Emily Mae Smith, Habitat, oil on linen, 2022.

Beatriz Milhazes at Pace Gallery

Made recently but rendered antique-looking by strategically distressed paint, Brazilian artist Beatriz Milhazes’ paintings at Pace Gallery exist to celebrate the histories and abundant possibilities of design.  Scrolling stems, chains of periwinkles and clusters of Klimt-like gold circles in this painting join colorful wave forms and triangular patterns in creating strong horizontals, broken by large leaf-like forms at the center of the canvas.  Does nature compete with design?  A merger of organic and geometric shapes in the vertical strip at the center of this painting suggests a harmonious and dynamic relationship between the two.  (On view in Chelsea through Oct 29th).

Beatriz Milhazes, Azulão, acrylic on linen, 75 inches × 63 inches, 2021 – 22.

Pamela Phatsimo Sunstrum at Galerie Lelong

All is not well in the home that Pamela Phatsimo Sunstrum pictures in ‘Front Room,’ an intriguing painting in her debut solo show at Galerie Lelong in Chelsea.  In a recent talk, the artist portrayed domestic space as a place where many emotions, from rage to comfort, can be experienced.  Here, two women (alter egos of the artist) attempt to soothe an upset woman with tenderness and understanding, while a fourth individual stands distracted in the background.  Monumental in their full, beautifully rendered garments, the women’s actions and emotions take on powerful significance. (On view in Chelsea through Oct 22nd).

Pamela Phatsimo Sunstrum, Front Room, oil and pencil on linen, 2022.

Nicole Eisenman’s ‘Abolitionists’ at the Metropolitan Museum of Art

Nicole Eisenman’s monumental painting ‘The Abolitionists in the Park’ at Hauser & Wirth Gallery in late spring/early summer was a highlight of Chelsea gallery tours; you can see it again in the Met Museum’s permanent collection, a recent acquisition thanks to the Green Family Art Foundation Gift.  At over 10 feet tall, it towers over visitors, inviting us into a scene of protesters gathered outside City Hall in downtown Manhattan during the summer of 2020.  Featuring an array of characters, from figures in shades of blue eating pizza to an entirely red-toned figure lounging in front, Eisenman meets and disrupts expectations of large-scale history painting while taking the genre up to the present moment. (On view in the Mezzanine gallery).

Nicole Eisenman, The Abolitionists in the Park, oil on canvas, 127 x 105 inches, 2020-22.

Sonia Gechtoff at 55 Walker

Wholly abstract yet suggesting recognizable forms, late painter Sonia Gechtoff’s canvases invite and resist interpretation simultaneously.  Successful from a young age with shows at the San Francisco Museum of Art (now SFMoMA) and the De Young Museum, Gechtoff’s move to New York’s male-oriented abstract expressionist art scene in the late 1950s slowed her career and recognition.  Her current retrospective at 55 Walker (run by Bortolami, kaufmann Repetto and Andrew Kreps Gallery) contributes to correcting the record of her importance, showcasing work from the ‘50s to 2017, the year before her death at age 91.  It includes ‘Celestial Red,’ a composition dominated by circular forms evoking the planets and moons of a solar system, and behind them all, a powerful, glowing celestial body not fully known or seen. (On view in Tribeca through Aug 26th).

Sonia Gechtoff, Celestial Red, acrylic on canvas, 77 ¾ x 78 in, 1994.

Richard Bosman at Nicelle Beauchene Gallery

No one falls off a cliff or screams into the rain in Richard Bosman’s paintings at Nicelle Beauchene Gallery, a departure from the artist’s signature film noir subject matter.  Instead, a selection of Bosman’s work from the past thirteen years pays homage to icons of European/U.S. art history in the form of a painting on wood recreating Van Gogh’s palette and a view of mid-20th century abstract artist Barnett Newman’s studio.  The show’s highlight and biggest work is a 2015 installation titled ‘Museum Wall,’ a selection of paintings mimicking a Frieda Kahlo portrait, James Ensor’s masked characters, Van Gogh’s sunflowers and more.  Painted as if in elaborate frames, each canvas is pinned directly to a grey-painted wall like a poster, an homage to influential artists that also comments on the easy consumption of art. (On view in Tribeca through July 29th).

Richard Bosman, Museum Wall, oil on canvas, dimensions variable, 2015.

Isca Greenfield-Sanders at Miles McEnery Gallery

Isca Greenfield-Sanders’ landscape paintings at Miles McEnery Gallery point out the filters through which we see scenery; here, a pinkish cast to this beach scene recalls aged film, but the artist’s paintings also suggest layers of time and distance. Painting from found vintage photographs of places she’s never been, Greenfield-Sanders singles out scenes that have a familiarity that many in her audience will recognize from their own experience.  After making several versions of an image, tinkering with placement of details and doing preparatory watercolors, Greenfield-Sanders creates a final version of the painting which embodies the transitory, ‘captured’ images of a photo in the more labor-intensive medium of painting.  (On view in Chelsea through July 23rd).

Isca Greenfield-Sanders, Silver Beach, mixed media oil on canvas, 51 x 51 inches, 2022.

Carrie Moyer’s ‘Pirate Jenny’ at The Metropolitan Museum of Art

The Metropolitan Museum of Art is switching up its contemporary galleries regularly these days in an exciting change from past years.  For the last month, this lush, abstract painting by Brooklyn-based painter, writer and activist Carrie Moyer has enticed mezzanine visitors, celebrating Pride Month and offering up pure visual pleasure.  Titled ‘Pirate Jenny,’ the piece refers to a song in Bertoldt Brecht and Kurt Will’s ‘Three Penny Opera’ about a hotel maid who triumphs over her scornful fellow townspeople, sailing away to happiness.

Carrie Moyer, Pirate Jenny, acrylic, glitter, and graphite on canvas, 2012.

Nicole Eisenman at Hauser & Wirth Gallery

Things don’t look good for this couple, whose lives have literally come crashing together in this monumental painting by Nicole Eisenman at Chelsea’s Hauser and Wirth Gallery.  Though the flying cyclist and tumbling cat rescuer look as if they’re going to be injured, their faces are impassive, lacking even a hint of regret or fear and the title – Destiny Riding Her Bike – reveals that resistance would be useless.  In a profile article in The New Yorker, Eisenman connected the scene to their own romantic partnership; swirling patterns and intense colors in the landscape speak to the intensity of this couple’s relationship.  (On view through July 29th).

Nicole Eisenman, Destiny Riding Her Bike, oil on canvas, 127 x 105 inches, 2020.

John Riepenhoff at Broadway

While traveling the world in his various roles as art dealer, artist, art activist, art impresario, and beer and cheese maker, John Riepenhoff has made time to appreciate the night sky from a variety of vantage points, from urban rooftops to wilderness.  In the latest from his ongoing series of sky paintings created in the dark of night and now on view at Broadway in Tribeca, he continues to configure the heavens in surprising ways, filling canvases with vertical dashes or elliptical forms that suggest a view from inside a rain storm. Blooms of purple-reddish color and scattered flecks of orange or yellow light further encourage appreciation for the wonders of nature.  (On view through July 15th).

John Riepenhoff, Skies, acrylic, flashe and oil on linen, 44 x 50 inches, 2022.

Robert Colescott at George Adams Gallery

The late artist Robert Colescott, painter of the iconic art-historical remake ‘George Washington Carver Crossing the Delaware,’ addressed racial stereotypes by confronting them head-on.  Here, in ‘Nouvelle Cuisine’ from 1988, now on view at Tribeca’s George Adams Gallery, Colescott lifts the cover off of the inequitable power structure in this fine dining establishment.  Hidden labor and a trash can full of wasted food speak to behind-the-scenes realities ignored in the candle-lit dining room.  (On view through July 1st).

Robert Colescott, Nouvelle Cuisine, acrylic on canvas, 84 x 72 inches, 1988.

Bendt Eyckermans at Andrew Kreps Gallery

The dramatically-patterned drawn curtains in this painting by young Antwerp-based artist Bendt Eyckermans shut out the sun, but a sense of illumination is nevertheless strong in this symbol-laden interior scene at Andrew Kreps Gallery.  Working in the studio that both his artist father and grandfather have used before him, the youngest artist in a lineage that goes back at least five generations ponders his inheritance by picturing objects with meaningful history.  A sculpture reminiscent of his father’s work crouches on the table in this picture titled ‘The successor,’ while two figures on the left (one nearly hidden behind the other) presumably picture artistic forebears.  A green marble on the orange-toned carpet reads like a warning to self not to slip in their watchful presence.  (On view in Tribeca through June 18th).

Bendt Eyckermans, The successor, oil and ink on linen, 74 3/8 x 62 5/8 inches, 2021.

Becky Suss Paintings at Jack Shainman

During the pandemic, many people became extremely familiar with their domestic spaces.  Philadelphia-based artist Becky Suss turned up the intensity on her introspection by moving back into her childhood home with her young child and proceeding to paint scenes of her childhood bedroom from different points in her life.  Now on view at Jack Shainman Gallery, the new work reveals how she mined her memory for details from her past, creating scenes within scenes; here, each window in the dollhouse represents a setting from a different children’s story. (On view in Chelsea on 24th Street through June 18th.)

Becky Suss, 8 Greenwood Place (my bedroom), 84 x 60 x 2.5 inches, oil on canvas, 2020.

Brad Kahlhamer at Garth Greenan Gallery

Human or animal, alive, dead or in spirit form, the most haunting and memorable aspect of Brad Kahlhamer’s current solo show at Garth Greenan Gallery are the many faces that populate his graphically strong paintings.  In this untitled canvas, several heads have hair that extends down and out like roots, joining stylized figures and a modified dream catcher to create connections across space and between characters.  This half-human, half raptor individual appears tranquil but the figures around her suggest intense inner life.  (On view in Chelsea through June 18th).

Brad Kahlhamer, detail from Untitled, mixed media on canvas, 104 ¾ x 138 inches.
Brad Kahlhamer, Untitled, mixed media on canvas, 104 ¾ x 138 inches.

Celeste Rapone at Marianne Boesky Gallery

Celeste Rapone’s dynamic paintings at Marianne Boesky Gallery create interest through the distortions of their mostly female central figures.  Viewers must first make sense of twisting limbs, then take in story-suggesting details which here include cough drop wrappers, a weed and a parking ticket at the bottom on the canvas.  Dressed in a pink track suit, the woman here appears to be an over-enthusiastic volunteer, digging a cavernous hole for a tiny oak sapling, all while somehow simultaneously standing in the hole and balancing on tippy-toe on a skinny wrought iron fence.  Interested in how women can ‘occupy impossible positions’ both literally and metaphorically, Rapone manifests complicated mental states in physical form.  (On view through June 11th).

Celeste Rapone, Muscle for Hire, oil on canvas, 67 x 67 inches, 2022.

Angelo Filomeno at Chart Gallery

Angelo Filomeno’s latest works, now on view at Chart Gallery in his first New York solo show in seven years, lure visitors closer via bold color contrasts and a literal glow from his materials.  Appearing to be ‘painted with a sewing machine,’ as the New York Times once put it, the embroidered works on silk shantung resemble painting in presentation and scale but are marked by a richness of color and abundance of light afforded by their material.  Filomeno’s work never strays far from the theme of mortality; here, an iceberg illuminated by lightning brings our changing environment into focus.  (On view through June 18th).

Angelo Filomeno, Storm, embroidery on silk shantung stretched over cotton, 68 x 52 inches, 2022.

Xiao Wang at Deanna Evans Projects

In an Instagram post, Brooklyn-based artist Xiao Wang wrote, “I consider adding highlights as one of the most joyful moments in painting.”  The pleasure is all ours in observing the light as it illuminates the gingko leaves and rests on his model’s cheek in this standout piece from the artist’s solo show at Deanna Evans Projects. Featuring moody, nighttime paintings populated by young people, semi-obscured by plants and bouquets, the new paintings make nature an active participant in each scene.  (On view in Tribeca through May 28th).

Xiao Wang, Streetlight, oil on canvas, 16 x 12 inches, 2021.

David Aipperspach at Chart Gallery

The paintings in Philadelphia-based artist David Aipperspach’s current solo show at Tribeca’s Chart Gallery, ‘Prologue to a Garden Dark’ anticipate the slow end of a summer’s day by blending light and color from different times in a single scene. At the show’s entrance, a small painting tracks the path of the sun as it sinks though a grid of darkening colors, acting as a Rosetta stone for the same color shifts that appear in rectangles of stacked colors inset in the paintings.  Acting as ‘clocks,’ the rectangles break into tranquil scenes, acting as abrupt reminders of the passage of time.  (On view through April 30th in Tribeca).

David Aipperspach, 4-7pm, oil on canvas, 84 x 72 inches, 2021.

Al Loving at Garth Greenan Gallery

Renowned in the ‘60s for his hard-edge abstraction, Al Loving introduced softer geometries in textile works from the ‘70s, like this dynamic assemblage now on view at Garth Greenan Gallery in Chelsea.  Inspired by African American quilting tradition and Romare Bearden’s collage, Loving created works of ripped, braided and dyed fabric, which the gallery likens to pennants, streamers, tattered flags and garments.  In this piece, a colorful pattern spreads from the top right, traveling down and across a dark surface creating a feeling of work in progress and complex depth. (On view in Chelsea through May 7th.)

Al Loving, Untitled, mixed media on canvas, 83 x 106 inches, 1975.

Uuriintuya Dagvasambuu at Sapar Contemporary

Even if you’re tired of Zoom meetings, you’ll be tempted to join Mongolian artist Uuriintuya Dagvasambuu’s online gathering in this painting at Sapar Contemporary, part of her New York solo show debut.  Featuring a woman in traditional dress, flower stalks composed of tiny humans an undersea woman with her pet dog and more, each painted video frame is an introduction to a fascinating earthly or mystical world.   (On view in Tribeca through April 30th.)

Uuriintuya Dagvasambuu, Zoom Meeting, acrylic on canvas, 55 1/8 x 55 /18 inches, 2021.

Barkley L. Hendricks, Two! at Jack Shainman

Known for his portraits of stylish Black people painted from the ‘60s onward, Barkley L. Hendricks’ lesser-known body of work merging minimalism and basketball is now on view at Chelsea’s Jack Shainman Gallery.  Between attending the Pennsylvania Academy of Art and Yale, Hendricks worked for the Philadelphia Department of Recreation as an artist with access to the courts and games that inspired pieces like ‘Two!’  Though the ball is in motion here, a sense of stillness pervades, as if the artist is savoring a moment in a game.  Though circular and rectangular forms dominate and bring to mind hard-edge abstraction, Hendricks evokes the flat stillness of a momentous scene in an early Renaissance painting.  (On view in Chelsea through April 30th).

Barkley L. Hendricks, Two!, oil on linen, 44” diameter, 1966-67.

Mika Horibuchi at 55 Walker

Betrayal and concealment are words applied to Mika Horibuchi’s deceptively masterful paintings at 55 Walker, which replicate her grandmother’s amateur watercolors.  At first glance, triangular tabs appear to be adhered to the surface to hold up a printed photo.  A closer look reveals that they, like the ‘photo,’ are meticulously painted.  The cat image is a rendition of a printed snapshot sent to the artist in Chicago by her grandmother in Japan, who has taken up painting later in life.  A nearby display case shows the original snapshots along with other photos, drawings, and more.  Here, the professional mimics the hobbyist, but the work conveys respect and consideration.  (On view in Tribeca through March 26th).

Mika Horibuchi, Watercolor of Pi-ko, oil on linen, 42 x 55 x 1 ¾ inches, 2021.

Kay WalkingStick at Chelsea’s Hales Gallery

Kay WalkingStick’s paintings at Chelsea’s Hales Gallery traverse and glory in the North American landscape, from mountain peaks, to eroded canyons to windy shorelines.  Each is overlaid with a pattern derived from imagery created by Native American peoples who have lived in the areas depicted.  Together, the patterns and scenery speak to the deep connectedness of Native histories and culture and the land.  (On view through April 16th.)

Kay WalkingStick, (detail from) The San Francisco Peaks Seen from Point Imperiale, oil on panel in three parts, 31 ¾ x 95 ¼ x 2 inches, 2021.