Josh Smith at David Zwirner Gallery

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‘Holiday,’ Josh Smith’s painting of the Grim Reaper, may represent a vacation in Edvard Munch’s world, but otherwise has more to do with livening up a typically drab comic convention.  A super-abundance of cute bats, Death’s multi-colored robe and a huge moon that’s more pretty-in-pink than bloody liven up a scene that should be darker than it is.  While this representation might not exactly make death look good, the makeover is worth thinking about.  (On view at David Zwirner Gallery in Chelsea through July 19th).

Josh Smith, Holiday, oil on linen, 84 x 72 inches, 2019.

Scott Olson Abstractions at James Cohan

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Scott Olson’s new biomorphic abstractions at James Cohan Gallery’s Lower East Side location continue to tap into the language of early 20th century non-objective art, engaging the imagination with a pleasing play of color and form.  A rectangle of dark space at the bottom of the composition sets off what’s above – an array of shapes that tempt interpretation, guiding the eye along diagonally sloping paths toward imagery that resembles the stalks of plants or, above, a segmented area that suggests an arachnid or segmented fruit.  (On view through July 26th).

Scott Olson, Untitled, oil on linen with artist frame, 33 ½ x 23 ½ inches, 2019.

Sarah Cain in ‘cart, horse, cart’ at Lehmann Maupin Gallery

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Using unconventional painting materials like the jewelry chains crisscrossing this canvas, LA-based artist Sarah Cain aims to prompt memories and evoke emotions in her viewers. Actually titled ‘Emotions,’ this painting simultaneously suggests a spill of paint, hanging fabric and fairground flags, blurring abstraction and representation and taking the mind several places at once.  (On view in Lehmann Maupin Gallery’s summer group show ‘cart, horse, cart’ in Chelsea through August 16th).

Sarah Cain, Emotions, acrylic and chains on canvas, 72 x 60 inches, 2018.

Kathia St Hilaire at Derek Eller Gallery

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Three children forge ahead into the unknown on a boat made of braiding hair packaging in this oil-based relief collage on canvas by Yale MFA candidate Kathia St Hilaire.  A standout in Derek Eller Gallery’s current group show, St Hilaire’s image features kids venturing forth under a blazing sun to navigate their own identities and paths in life.  (On view on the Lower East Side through July 3rd).

Kathia St Hilaire, detail of 100% Kanekalon, oil-based relief collage on canvas, kanekalon braiding hair, 54.5 x 42 inches, 2018.

Dylan Martinez in ‘Fire and Water’ at Lyons Wier Gallery

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Washington-based glass artist Dylan Martinez fools the eye with solid glass sculptures that appear to be plastic bags filled with water.  “Our desires often override our true perception of reality,” the artist explains, anticipating the strong urge to believe that there’s water inside each ‘bag’ when, in fact, it’s the reflections on the exterior that create an illusion of movement.  A standout in Lyons Wier Gallery’s ‘Fire & Water’ group exhibition, Martinez also amazes with glass sculptures resembling cross sections of a vase, undulating in space.  (On view in Chelsea through July 6th).

Dylan Martinez, Glass Water Bags, hollow and solid sculpted glass, 2019.

Terry Haggerty Mural at Sikkema Jenkins & Co

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It’s risky to take too long a look at Sikkema Jenkins & Co’s gallery wall – British abstract artist Terry Haggerty’s mural can literally upend your balance as his painted lines appear to twist and bend in space.  The optical surprises continue in painted wooden panels that invite us to try to make out the multiple viewpoints depicted in each piece.  Whether you walk away with a headache or invigorated by the effort of wrestling with your perceptions, the show is worth engaging.  (On view in Chelsea through June 30th).

Terry Haggerty, Untitled, acrylic on wall, dimensions variable, 2019.

Kiki Kogelnik at Mitchell-Innes & Nash

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As Pop art burst onto the US art scene in the early 60s, Austrian artist Kiki Kogelnik moved to New York and forged her own related path, imagining humans as robots, bombs as sculpture and later, models as aliens.  In this painting from 1979, Kogelnik morphed the fashion-forward woman of the day into a creature with glowing eyes and stylish garments, hair and skin in reptilian green tones.  Set against floating triangles, the women are as abstract as their backgrounds and ready to defy convention.  (On view at Mitchell-Innes & Nash in Chelsea through June 29th).

Kiki Kogelnik, City, oil and acrylic on canvas, 98 5/8 x 63 1/8 inches, 1979.

Leonardo Drew at Galerie Lelong

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Newly represented by Galerie Lelong, Leonardo Drew’s inaugural show at the gallery arrives with a bang with an installation that resembles a hovering mass of exploded material.  Like the artist’s recently opened outdoor work at Madison Square Park, the piece offers an unexpected blast of color unfamiliar to fans of Drew’s black, white and wood-colored wall sculptures while continuing to ponder themes of destruction and regeneration.  (On view in Chelsea through August 2nd).

Leonardo Drew, Number 215, wood, paint and sand, dimensions variable, 2019.

Frances Goodman in ‘Delicate Industry’ at Richard Taittinger Gallery

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‘Seething’ is the perfect word to describe the undulating mass of red and purple folds that writhe and twist in South African artist Frances Goodman’s ‘Seething Mass,’ a standout in Richard Taittinger Gallery’s current group show.  Composed of acrylic nails in colors that range from blood red to vivid magentas and purples, this abstract wall sculpture hangs near shields that resemble sharpened, painted fingernails.  In both cases, Goodman gives adornment dangerous potential.  (On view on the Lower East Side through June 30th).

Frances Goodman, detail of ‘Seething Red,’ acrylic nails, resin, foam, silicone glue, 51 ¼ x 102 3/8 x 9 inches, 2017.

Claudette Schreuders at Jack Shainman Gallery

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Human connection is the subject of ‘In the Bedroom,’ South African artist Claudette Schreuders’ latest show of wood sculpture at Chelsea’s Jack Shainman Gallery.  Here, in ‘Guilty Bystander,’ Schreuders offers an intimate look at a pensive, uncomfortable character who is somehow implicated in an event that we don’t see, begging the question of whether one must be physically close to an activity to be involved.  (On view through June 22nd).

Claudette Schreuders, Guilty Bystander, jelutong wood, enamel and oil paint, 51 3/16 x 11 13/16 x 16 ½ inches, 2018.

Shara Hughes at Rachel Uffner Gallery

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Shara Hughes’ new paintings of lush, psychedelic flowers dominate landscapes so teeming with life it’s almost alarming.  Here, several colorful plants sprout blossoms supported by curvaceous stems resembling cursive script, as if new language was needed to describe this beautifully alien world.  (On view at Rachel Uffner Gallery on the Lower East Side through June 23rd).

Shara Hughes, My Organized Flare, oil and acrylic on canvas, 78 x 66 inches, 2019.

Tony Smith at Pace Gallery

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It comes as no surprise when pondering ‘Tau,’ currently installed at Pace Gallery’s 25th Street location, that sculptor Tony Smith began his career as an architect, building spaces designed to be experienced by bodies in motion.  Towering over visitors to the gallery’s 25th Street space, the sculpture’s sleek sophistication invites admiration from all angles.  (On view in Chelsea through June 22nd).

Tony Smith, (foreground) Tau, steel, painted black, 14’ x 21’ 6” x 12’ 4,” 1961-2 and (background) Source, steel, painted black, 9’ 5 ½” x 25’ 1/4” x 24’ 5 3/8,” 1967.

Rena Detrixhe at Spencer Brownstone Gallery

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Finely sifted red soil imported from Oklahoma becomes a patterned carpet in Rena Detrixhe’s first New York solo show at Spencer Brownstone Gallery.  Using a trowel to smooth down the dirt, then imprinting it with modified shoe soles, the Kansas-based artist considers the symbolic value attached to land in the mid-west while alluding to mankind’s impact on it.  (On view on the Lower East Side through June 16th).

Rena Detrixhe, Red Dirt Rug, sifted red soil, 20 x 10 feet, 2019.

Abdoulaye Konate at Blain Southern

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Inspired by his home country’s rich tradition of textile working, Malian artist Abdoulaye Konate employs colorful patterns, cut-out shapes and embroidery to depict a sea abundant with life.  As with many of his representational works, Konate alludes to social issues including the desertification of the country and the lack of access to clean water while he celebrates the beauty of its traditional fabrics and indigo dyes.  (On view at Blain Southern in Chelsea through June 15th).

Abdoulaye Konate, installation view of ‘Ocean, Mother and Life,’ textile, 118 1/8 x 229 7/8 inches, 2015.

Sanya Kantarovsky at Luhring Augustine Gallery

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Sanya Kantarovsky’s hauntingly dark new paintings at Luhring Augustine Gallery in Chelsea channel Edvard Munch, James Ensor and Henry Matisse to fascinating but disturbing effect.  The green skinned woman at the center of ‘Needles’ may be in hooked up to an IV but the demon-like figure propping her up suggests suffering more than recovery.  (On view through June 15th).

Sanya Kantarovsky, Needles, oil and watercolor on canvas, 95 x 65 inches, 2019.