Peter Harkawik at Derek Eller Gallery

Is digital technology making physical bodies less important? LA artist Peter Harkawik addresses this very contemporary concern with a sculpture that is both a musical instrument and a paean to the human body. Colors on the armature reference brands (like Home Depot orange) while a carefully rendered hand, ear, scrunched bottle and more signal the human touch. (At Derek Eller Gallery through July 10th).

Peter Harkawik, (detail of ) Everything But (Klondike Blue/Pepto Bismol Pink, UPS Brown, Pluot Purple/Home Depot Orange, Risperdal Green/Tiffany Blue, Post-It Note Yellow/Wiffle Ball Yellow, T-Mobile Pink/John Deere Green, Aquafresh Blue, Tiffany Blue), mechanically polished cast stainless steel, electropolished cast stainless steel, 316 stainless steel, 308 stainless steel, carbon steel, Imron fleet paint, SAE F-55 felt, hardware, rubber mallet, 68 x 60 x 16 inches, 2015.

Kara Walker at Sikkema Jenkins

Kara Walker’s monumental installation of an eroticized, African-American sphinx last summer at Brooklyn’s Domino Sugar Factory was a run-away hit for its sheer size and painful exaggeration of an American stereotype. At Sikkema Jenkins in Chelsea, Walker presents work surrounding the project, including watercolors and the sphinx’s severed hand, preserved for the time being in its defiantly rude gesture. (Through Jan 17th.)

Kara Walker, installation view of Afterword at Sikkema Jenkins, Dec 2014.

Adam Shecter at Eleven Rivington

In a futuristic city inhabited by robots, stories of two dogs and a married couple loosely intertwine as one character tries to disentangle real from false memories. As could be expected, the protagonist never separates one from the other, but the process of watching is mesmerizing. (At Eleven Rivington’s 195 Chrystie Street location through October 5th).

Adam Shecter, installation view of ‘New Year’ at Eleven Rivington Gallery, September 2014.