Fatemeh Baigmoradi in ‘GRACE’ at Laurence Miller Gallery

Iranian-born artist Fatemeh Baigmoradi’s burnt photographs recall her father’s attempt to avoid arrest by burning his photos of events that tied him to an oppressed political minority after the Islamic Revolution in Iran.  The artist connects the resulting images – characterized by beautiful halos of color – to a Persian painting tradition that painted a glow around the heads of featureless holy figures.  Her installation, seen here in detail, is a standout in Laurence Miller Gallery’s ‘GRACE’ exhibition, a multi-faceted and fascinating exploration of gender, race and identity.  (On view in Chelsea through Feb 22nd).

Fatemeh Baigmoradi, installation view of selected works from the series ‘It’s Hard to Kill,’ 2017 at Laurence Miller Gallery, January, 2019.

Alfredo Jaar at Galerie Lelong

Calling it ‘the strongest expression of grief he has ever seen,’ Alfredo Jaar is showcasing an image by the late Dutch photojournalist Koen Wessing as part of his latest NY solo show. Wessing’s image depicts the reaction of two Nicaraguan women to news that their father has been killed in the revolution in 1978. Gradually, their images disappear in an increasingly bright blast of light, often used by Jaar as a metaphor for blindness. (At Galerie Lelong through March 28th).

Alfredo Jaar, Shadows, installation with LED lights, aluminum, video projection and six lightboxes with black and white transparencies, 2014.

Martin Puryear at Matthew Marks Gallery

The Phrygian cap, worn as a symbol of emancipation in the French revolution and before, inspired American sculptor Martin Puryear’s new work at Chelsea’s Matthew Marks Gallery. As a series of sculptures that point to freedom, Puryear’s work goes beyond formally attractive objects to suggest justice as its own form of beauty. (Through Jan 10th).

Martin Puryear (foreground), Big Phrygian, painted red cedar, 2010-2014.