Mounir Fatmi at Jane Lombard Gallery

Moroccan-born artist Mounir Fatmi’s installation ‘Inside the Fire Circle’ offers the idea of literally jump starting conversation via his arrangement of jumper cables, typewriters and paper on which the public is invited to contribute thoughts. The centerpiece of a show that considers the limits of freedom, the installation suggests that self-expression can be risky. (On view at Jane Lombard Gallery through Oct 21st).

Mounir Fatmi, installation view of ‘Survival Signs’ at Jane Lombard Gallery, Sept 2017.

Li Jingxiong in ‘Referencing Alexander Calder’ at Klein Sun Gallery

In a show dedicated to the legacy of Alexander Calder, Li Jingxiong’s snake skin footballs are a standout. Hung like buoys or a flattened Calder mobile, the balls marry beauty, with their craftsmanship, and danger, with their material. (At Klein Sun Gallery in Chelsea through Oct 7th).

Li Jingxiong, EGOBY, plastic mould and snake skins, 11 3/8 x 6 ¼ inches, 2014-16.

Allen Ruppersberg at Greene Naftali Gallery

Intercut with circus and festival ads and excerpts from Allen Ginsberg’s ‘Howl,’ Allen Ruppersberg’s pointed yet ambiguous texts – one asks, ‘Is one thing better than another?’ – question the status quo in eye-catching day-glo color. (At Greene Naftali Gallery in Chelsea through Oct 21st).

Allen Ruppersberg, installation view of ‘The Novel that Writes Itself’ at Greene Naftali Gallery (floor 8), Sept 2017.

Kazuko Miyamoto at Zuricher Gallery

Kazuko Miyamoto’s ‘Female I’ reclines along the floor of Zuricher Gallery like a taught, transparent odalisque, a shifting combination of representational form and pure abstraction that rethinks minimalism’s relationship to the organic world. (On the Lower East Side through Oct 22nd).

Kazuko Miyamoto, Female I, black string and nails on board, 28 x 28 x 91 inches, 1977-2017.

Amanda Ross-Ho at Mitchell-Innes & Nash

Oversized wineglasses, cups, a fork and other objects litter worktables in Amanda Ross-Ho’s latest solo show at Chelsea’s Mitchell Innes & Nash, where the LA based artist spent August making paintings of clock faces (see the normal-sized glass holding goldfish crackers at middle right). Based on vintage paper clock surfaces that she purchased from eBay and used for note-taking, the clocks unmoor time (Ross-Ho recently lost her long-term studio) and the surreally enlarged elements from everyday life become inexplicably important. (On view through Oct 14th).

Amanda Ross-Ho, installation view of ‘My Pen is Huge’ at Mitchell-Innes & Nash, Sept 2017.