Gil Batle at Ricco/Maresca

Gil Batle is back with a second solo show at Ricco/Maresca of ostrich eggs carved with stories of various inmates encountered during the artist’s past prison sentences. Every bit as absorbing as his first show here in 2016, this exhibition features eggs like ‘Abducted,’ which explores a murdering dentist’s tales of alien interference in his life. (On view in Chelsea through Feb 24th).

Gil Batle, Abducted, carved ostrich egg shell 6.5 x 5 x 5 inches, 2017.

Barton Benes at Allan Stone Projects

Books are bound with covers of cigarettes or melted crayons, studded with nails like a fetish object or stuffed with garbage in Allan Stone Projects’ exhibition of Barton Benes’ book sculptures. This book from c. 72-74 is at the mercy of a giant safety pin, perhaps holding the book together, keeping it closed or treating it like a punk or a diapered baby? (On view in Chelsea through Feb 24th).

Barton Benes, Untitled (Book with Safety Pin), mixed media book construction, 3 x 6 x 3 inches, c. 1972-74.

Jason Martin at Lisson Gallery

Nearly twenty years after his last New York solo show, British artist Jason Martin is back with limited palette paintings in swathes of oil paint as lush and thick as frosting. (On view at Lisson Gallery’s 24th Street location through Feb 24th).

Jason Martin, Untitled (Olive Green Deep/Graphite Grey), oil on aluminum, 220 x 178 cm, 2017.

Robert Indiana at Paul Kasmin Gallery

Robert Indiana’s mid-1960s monument to love continues to work its magic on audiences around the world as the artist nears his 90th birthday. Now at Paul Kasmin Gallery, this towering steel sculpture multiplies and magnifies the term in all its myriad understandings. (On view at Paul Kasmin Gallery’s 27th Street location through March 3rd).

Robert Indiana, LOVE WALL, cor-ten steel, 144 x 144 x 48 inches, 1966-2006.

Robin Rhode at Lehmann Maupin Gallery

In a sequence of six photos by South African artist Robin Rhode, an acrobatic mathematician contorts his body to project a ‘Lute of Pythagoras,’ a series of pentagrams locked together in pleasing mathematical proportion. At the gallery entrance, Rhode quotes Swiss architect and urban planner Le Corbusier’s assertion that humanity attempts to save itself from chaos through geometry. Rhode’s efforts to better humanity by joining art and geometry feel poignantly quixotic. (On view at Lehmann Maupin Gallery in Chelsea through Feb 24th).

Robin Rhode, one of six panels in Meditation on the Lute of Pythagoras, 6 parts, each 21.5 x 28.58 x 1.5 inches, c-print, 2017.