Agniszka Kurant at Tanya Bonakdar Gallery

‘The End of Signature’ by New York based Polish artist Agnieszka Kurant compiles hundreds of signatures into one long scrawl, appearing on the gallery wall in black coloring on a long, tube and replicated by this machine. Kurant’s piece bears witness, neither critically nor enthusiastically, to the increase of typed communication and digital signatures. (At Tanya Bonakdar Gallery through Oct 18th).

Agnieszka Kurant, detail of The End of Signature, glass tubing, water pump, black coloring and water, installed with autopen machine, pillar of paper and ink pens, 2014.

Alina Szapocznikow in ‘The Obscure Object of Desire’ at Luxembourg & Dayan

Late Polish artist Alina Szapocznikow’s cast of her own lips as a lamp act as erotic beacon yet resemble a golf club, suggesting a mix of attraction and violence that makes this piece standout in Luxembourg & Dayan’s excellent group exhibition ‘The Obscure Object of Desire.’ (Through October 4th).

Alina Szapocznikow, Lampe-bouche, colored polyester resin, electrical wiring, and metal, 17 ¾ x 6 x 4 inches, 1966.

Monika Sosnowska at Hauser & Wirth

Inspired by the modern glass wall grid of Mies van der Rohe’s 1951 Lake Shore Drive Apartments, Warsaw-based artist Monika Sosnowska’s ‘Tower’ reverses the aspiration and elegance of International Style. Sprawled on the ground an curling like a dying leaf, the massive steel structure is a blunt symbol of failed ideals. (At Hauser & Wirth Gallery in Chelesa through October 25th).

Monika Sosnowska, Tower, steel, paint, unique, 2014.

Pawel Althamer at the New Museum

Polish artist Pawel Althamer opens up his exhibition at the New Museum to contributions from the public by providing paint, paper and smocks to the many, many visitors who want to leave their mark. (On the Lower East Side through April 13th).

Pawel Althamer, installation view of ‘Draftsmen’s Progress’ at the New Museum, March 2014.