Madame Cezanne at The Metropolitan Museum of Art

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Slipping into a red dress has adventurous connotations completely suppressed by Cezanne’s portrait series of his wife, Hortense Fiquet, who sat for hours on end as her husband’s patient model. Cezanne’s famous line, ‘Only I understand how to paint a red,’ is put to the test in works that also create psychological intensity by disregarding traditional perspective. (‘Madame Cezanne’ at the Metropolitan Museum of Art through March 15th).

Paul Cezanne, Madame Cezanne in a Yellow Chair, oil on canvas, ca 1888-90.

Chris Ofili at the New Museum

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At the beginning of his workday, British-born, Trinidad-based artist Chris Ofili experiments with watercolor and pencil drawings of his ‘Afromuses,’ imagined male and female characters that create a varied repertoire of inspirational characters. Seen here at Ofili’s New Museum exhibition, a selection of over 80 pieces showcases his quirky yet regal characters. (Through Jan 25th).

Chris Ofili, installation view of ‘Afromuses,’ at the New Museum, watercolor and pencil on paper, 1995-2005.

Louise Bourgeois at Cheim and Read

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Late sculptor Louise Bourgeois harnessed the discomfort inherent in the idea of hanging for many sculptures over the decades of her long career. Cheim & Read Gallery gathers a stunning selection, including this polished bronze, titled ‘Arch of Hysteria.’ Conferring hysteria on a male figure and distorting the body into an impossibly uncomfortable arch creates odd tensions that give the piece its disarming impact. (In Chelsea through Jan 10th).

Louise Bourgeois, Arch of Hysteria, polished bronze, 33 x 40 x 23 inches, 1993.

Kara Walker Installation at Sikkema Jenkins

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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.

Lorenzo Vitturi at Yossi Milo Gallery

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When young Italian artist Lorenzo Vitturi moved to London several years ago, he settled in the East London neighborhood of for its affordability and multi-cultural demographic. As gentrification has altered the area, however, Vitturi has preserved aspects of the area’s famed market in his photographs, including this precarious construction of edibles, still beautiful but now past their prime. (At Yossi Milo Gallery in Chelsea through Jan 10th).

Lorenzo Vitturi, Green Stripes #1, from the series Dalston Anatomy, Giclee Print on Hahnemuhle Bamboo Paper, 2013.

Martin Puryear at Matthew Marks Gallery

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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.

David Hockney, The Potted Palm at Pace Gallery

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British Pop art icon David Hockney has said that there’s drama whenever more than one person appears in a picture, but his recent ‘photographic drawing’ seen here is less about human interaction than experimentation with perspective. Working in his LA studio, Hockney photographed friends, studio assistants and furniture (as well as his own paintings in the background) to create an intriguing, uncanny image composed of multiple different perspectives enhanced by digitally drawn-in shadows. (At Chelsea’s Pace Gallery through Jan 10th).

David Hockney, The Potted Palm, photographic drawing shown on a 55 inch Sony Ultra HD screen, 48 5/8” x 29 1/4’” x 2 5/8”, 2014.

Takashi Murakami at Gagosian Gallery

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Hands down, one of the hottest shows of the season in Chelsea is Takashi Murakami’s current solo at Gagosian Gallery, featuring towering demons guarding an ancient Japanese sacred gate crafted by Japanese artisans. After Japan’s 2011 earthquake and tsunami, Murakami watched the nation turn to things spiritual…with this show, he makes a response by offering up his own quasi-religion. (Through Jan 17th).

Installation view of Takashi Murakami’s ‘In the Land of the Dead, Stepping on the Tail of a Rainbow,’ Gagosian Gallery, Nov 2014.

Judith Scott at Brooklyn Museum

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Enabled to create her art through Oakland’s ‘Creative Growth’s studio program for artists with disabilities, Judith Scott spent the last almost 20 years of her creative life crafting yarn, thread and other materials into dense bundles. The piece in the foreground testifies to her drive – when no other materials were available to her, she gathered paper toweling from the restroom or kitchen to use. (At the Brooklyn Museum, through March 29th).

Installation view of ‘Judith Scott’ at the Brooklyn Museum of Art. Foreground: Judith Scott, Untitled, fiber and found objects, 27 x 23 x 17 inches, 1994.

Alexander Tovborg at Nicelle Beauchene Gallery

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Young Danish artist Alexander Tovborg painted one abstracted image of a dinosaur, turned it to the wall and from memory painted the next, creating this row of images that rely on memory and depict now extinct – yet gorgeously colored – creatures. (At Nicelle Beauchene Gallery on the Lower East Side through Dec 21st).

Alexander Tovborg, Eternal Feminine (I), felt, pastel crayon, acrylic and imitated gold leaf on wood panel, 48 x 36 inches, 2014.

Takeshi Murata at Salon94 Bowery

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Known for his computer-created virtual photos, New York artist Takeshi Murata’s latest solo show at Salon 94 Bowery includes this quirky character, whose dripped frame and the appearance of stickers suggest the touch of a human hand but whose red smiley face is all about mechanical distortion. (On the Lower East Side through Dec 21st).

Takeshi Murata, Jogger (Red), pigment print mounted to plexi with powdercoated unibody aluminum frame, 40 x 44 x 2 inches, 2014.

Sean Landers at Petzel Gallery

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The tale of Moby Dick as metaphor for a doomed, obsessive quest, specifically the U.S.’s military involvement in the Middle East, was the subject of Robert Longo’s stunning show at Chelsea’s Petzel Gallery last spring. Now at the same gallery, Sean Landers’ takes up the subject in a more narcissistic way, depicting the great whale as a stand-in for the artist’s pursuit of a lasting artistic legacy. (Through Dec 20th).

Sean Landers, Moby Dick (Merrilees), oil on linen, 112 x 336 inches, 2013.

Francesco Clemente at Mary Boone Gallery

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Angels sleep under rainbows in Francesco Clemente’s ‘Angels’ Tent,’ while top-hatted men act oppressively (one enslaves two figures) in the ‘Devil’s Tent.’ The lushly decorated Mughal style tents signal Clemente’s nomadic lifestyle while making a strong contrast between good and evil. (At Chelsea’s Mary Boone Gallery through Dec 20th).

Francesco Clemente, installation view of Angels’ Tent and Devil’s Tent at Mary Boone Gallery, Nov, 2014.

Josh Faught at Lisa Cooley Gallery

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Glitzy sequins compete with more down-to-earth hand woven hemp fabric in a sculpture by San Francisco artist Josh Faught titled ‘Greg’ after a past romantic attachment. The clock suggests that time ran out on this relationship while a spilled drink and two tins of cookies (all food made of plastic) implies the unexpected upset of something delicious. (At Lisa Cooley Gallery on the Lower East Side through Dec 21st).

Josh Faught, Greg, hand woven and crocheted hemp (hand dyed in colors to match the 2013/2014 color forecast, Indigo, gold spray paint, sequin trim, silk, wool, giant clothes pin, spill (resin) with Cathy mug, chocolate chip cookies (plastic), and tin of butter cookies (plastic and metal) on Cedar support, 76 x 74 x 12 inches, 2014.

Yui Kugimiya at Marlborough Gallery

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Known for cheeky stop-motion animations made by photographing thickly textured paintings, Brooklyn artist Yui Kugimiya settles into a vividly colored, thickly painted non-moving images for her current show at Marlborough Gallery’s LES location. Painted as she looked out of her studio window at the East River, their Fauve color and style offers an intensely personal view of the city and here, its geese. (Through Dec 21st).

Yui Kugimiya, Geese on East River – One – 2, oil on canvas, 16 x 16 inches, 2014.

Giuseppe Gabellone at Andrew Kreps Gallery

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Like a giant emptied beanbag chair, Italian artist Giuseppe Gabellone’s ‘Acid Green’ fabric installation flops in the corner of Andrew Kreps’ Chelsea gallery, transforming the space and color of the room. Part of a show of work by artists who push their materials, the piece boldly occupies its space while suggesting future uses for the fabric. (Through Dec 20th).

Giuseppe Gabellone, Verde Acido, velvet fabric, acrylic padding, 590 ½ x 452 ¾ inches, 2012.

Frank Stella at Marianne Boesky Gallery

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Though this huge polished aluminum sculpture by iconic minimalist-turned-maker of-exuberant-forms Frank Stella looks like a giant Christmas tree ornament, at over 18’ tall it’s too big even for the Rockefeller tree. Titled ‘Puffed Star II,’ it continues Stella’s interest in forms that take over the space they’re in. (At Marianne Boesky Gallery’s Chelsea space through Dec 20th.)

Frank Stella, Puffed Star II, polished aluminum, 224 ½ x 224 ½ inches, 2014.

Albert York at Matthew Marks Gallery

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Late New York painter Albert York’s paintings of landscapes, dogs, cows and flowers may look conventional, but they elicit strong praise from art world cognoscenti for their dreamy quality and conversation with the history of painting landscape and portraiture. (At Chelsea’s Matthew Marks Gallery through Dec 20th).

Albert York, Cow, oil on board, 9 x 10 ¼ inches, c. 1972.

Dylan Stone at Josee Bienvenu Gallery

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What does your bookcase say about you? London-based artist Dylan Stone memorializes his film producer parents’ collection of books, LPs and video-cassettes in a huge painting at Chelsea’s Josee Bienvenu Gallery (seen here in detail). So much pre-digital media rendered in the ageless media of watercolor makes a poignant comment on longevity. (Through Dec 13th.)

Dylan Stone, detail from Barbara and David Stone’s Videos, LPs and Books, watercolor on paper, 110 x 150 inches, 2014.

George Condo at Skarstedt

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George Condo’s Picassoid jumbling of classic Condo facial features on the left and a sketchy blond Ab Exp muse on the right make an arresting couple at the entrance to Skarstedt’s Chelsea gallery. They’re also an amusing counterpart to the current Picasso show down the block at Gagosian Gallery. (In Chelsea through Dec 20th)

George Condo, Double Heads on Blue and Silver, acrylic, charcoal, pastel on linen, 78 x 110 inches, 2014.

Kaari Upson at Ramiken Crucible

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By dividing Ramiken Crucible’s small Lower East Side space into narrow compartments littered with dingy Pepsi cans and wall mounted urethane furniture casts, LA artist Kaari Upson creates a claustrophobic habitat that’s grungy while also strangely tidy. A puffy urethane door and doorstop at the entrance recall the harmless oddness of Claes Oldenburg sculpture. (At Ramiken Crucible through Dec 14th).

Kaari Upson, Untitled, aluminum, 200 aluminum cans, 2014 (foreground). Kaari Upson, Door Stop, urethane, pigment and cement, 2014 (background).

Franz West at David Zwirner

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Resting on their stately pedestals like exhibits at the Met, late Viennese sculptor Franz West’s candy-colored abstract sculptures may strike a serious pose but still exude nose-thumbing absurdity. (At David Zwirner Gallery’s 20th Street location through Dec 13th).

Franz West, Untitled (10 Sculptures), papier-mache, plaster, polyester, gauze, paint, plastic, metal and wood in eleven parts, dimensions variable, 1990-1997.

Sara Greenberger Rafferty at Rachel Uffner Gallery

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Known for distorting photographic images with liquids, Sara Greenberger Rafferty pushes the idea further in her latest solo show at Rachel Uffner Gallery by layering prints, acrylic and Plexi in images that juxtapose youth and decay. Here, a blurry image of a young woman (hung as if lurking or hiding in the stairwell) recedes behind a skeletal figure. (On the Lower East Side through Dec 21st.)

Sara Greenberger Rafferty, Untitled, acrylic polymer and inkjet print on acetate on Plexiglas and hardware, irregular size: 164.5 x 60.3 x 1.3cm, 2014.

Wu Jian’an at Chambers Fine Art

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This small detail from a paper cut tiger’s face by Beijing-based Wu Jian’an astounds with its detail. Created in unlikely colors, the pastels lend the tiger a dream-like appearance, in keeping with the esoteric imagery. (In Chelsea at Chambers Fine Art through Dec 20th).

Wu Jian’an, detail of ‘Faces – Tiger,’ hand dyed and waxed paper-cut, cotton thread, paper, 66 ¼ x 53 ¼ inches, 2014.

Marianne Vitale Installation at Zach Feuer

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The romance of the rails infuses Marianne Vitale’s totemic figures constructed from disused railway crossings. To stand near them is to imagine the tons of freight that have clattered over them, heading off to distant places. (At Chelsea’s Zach Feuer Gallery through Dec 20th).

Marianne Vitale, Installation view of ‘Nine Worthies’ at Zach Feuer Gallery, Nov 2014.

Abelardo Morell Paintings at Edwynn Houk Gallery

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By combining multiple exposures, Abelardo Morell’s gorgeous flower still life doesn’t just represent the passage of time a la Dutch genre painting, it literally captures change in one image. (At Edwynn Houk Gallery in the 57th Street area through Dec 20th).

Abelardo Morell, Flowers – for Lisa, archival pigment print, 2014.

Gladys Nilsson at Garth Greenan Gallery

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Traditional perspective takes a vacation in riotous new collages by Chicago Imagist artist Gladys Nilsson featuring monumental female figures created from and surrounded by consumer goods. This quail-eggs-for-nipples-Venus yolks it up against a fertile arbor backdrop. (At Garth Greenan Gallery, through Dec 6th).

Gladys Nilsson, A Girl in the Arbor #3, mixed media on paper, 2013.

Lily Ludlow at Canada

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Lily Ludlow’s angular abstractions at first look like x-rays of Cubist paintings, but her deliberately indistinct canvases (actually sanded down) gradually materialize into charged interactions between nude or semi-clothed characters. (At Canada on the Lower East Side through Dec 14th).

Lily Ludlow, The Knifers, acrylic, pencil, graphite, chalk on canvas, 2014.

Geoffrey Farmer at Casey Kaplan Gallery

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Canonical works of western art from throughout the ages – cut from the pages of art books – rub shoulders in Vancouver artist Geoffrey Farmer’s ‘Boneyard’ installation at Casey Kaplan Gallery in Chelsea. The effect is surprisingly odd as it seems to warp space and time via the simple device of propping paper cutouts on a white tabletop. (Through Dec 20th).

Geoffrey Farmer, Boneyard, paper cutouts, wood, glue, dimensions variable, 2013.

Heri Dono at Tyler Rollins Fine Art

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Part-astronaut, part-characters from the Hindu epics, Indonesian artist Heri Dono’s ‘Flying Angels’ were, for the artist, symbols of inspiration and the future. Stand outs in the internationally-known artist’s first New York solo show at Tyler Rollins Fine Art in Chelsea, they introduce a fanciful body of work enlivened by references to Javanese folk theater. (Through Dec 20th).

Installation view of: Heri Dono, Flying Angels, fiberglass, fabric, bamboo, acrylic paint, electronic and mechanical devices, cable, automatic timer, 10 pieces, each 39 x 24 x 10 inches, 1996.

R.H. Quaytman at Gladstone Gallery

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An invitation to create a permanent installation for Inhotim, the Brazilian garden and art collection, was the prompt for this exhibition by New York artist R.H. Quaytman at Gladstone Gallery’s 21st Street location. Working with architect Solveig Fernlund on the exhibition design, Quaytman creates mini galleries that foregrounds ordering and sequence in both the gallery’s space and the art. (Through Dec 20th).

R.H. Quaytman, installation view of ‘O Topico,’ Gladstone Gallery, November 2014.

Neo Rauch at David Zwirner Gallery

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As surreal as ever, Leipzig-based painter Neo Rauch’s latest canvases intrigue with their somnambulant cast of characters and dream-like scenarios. In ‘Guardians of the Night,’ pictured here, a crab-clawed woman who approaches a sleeping man seems more like a healer more than a menace; meanwhile, a drummer and a custodian linger near. (At Chelsea’s David Zwirner Gallery through Dec 20th).

Neo Rauch, Hueter der Nacht (Guardians of the Night), oil on canvas, 118 3/8 x 98 ¾ inches, 2014.

Rosana Castrillo Diaz at Ameringer McEnery Yohe

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San Francisco-based Spanish artist Rosana Castrillo Diaz revels in the pleasures of minimal forms and pure white color in her untitled composition created with cotton on paper at Chelsea’s Ameringer McEnery Yohe Gallery. (Through Dec 13th).

Rosana Castrillo Diaz, Untitled, 58 x 58 inches, cotton on paper, 2013.

Gary Simmons Installation at Metro Pictures

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160 posters make up a 40-foot wall installation by New York artist Gary Simmons that commemorates historic boxing matches while blurring their memory with the artist’s signature ‘erased’ texts. (At Chelsea’s Metro Pictures through Dec 13th).

Gary Simmons, Untitled, ink jet posters on CDX plywood, installation dimensions variable, 2014.

Rudolf Stingel at Paula Cooper Gallery

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Opening on Oct 31st and closing a month later, this one-painting show by Rudolf Stingel at Chelsea’s Paula Cooper Gallery appears to be a month long celebration of spooky DIY Halloween decorations or a visitation from a frightening specter, perhaps warning against the excesses of giant paintings in huge gallery spaces. (Through Nov 29th)

Rudolf Stingel, Untitled, oil on canvas, 176 x 120 inches, 2014.

James Hoff at Callicoon Fine Arts

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Using the same skywiper virus that damaged Iran’s nuclear centrifuges, New York artist James Hoff creates gorgeous abstract images that hover between abstraction and representation, hinting at below-the-surface activities. (At Callicoon Fine Arts on the Lower East Side.)

James Hoff, Skywiper No. 3, chromaluxe transfer on aluminum, 20 x 16 inches, 2014.

Huguette Caland at Lombard Freid Gallery

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In a 1979 collaboration with Pierre Cardin, Lebanese artist Huguette Caland created these and other caftans that continue her focus on the female form. In the foreground, ‘Tete-a-tete,’ represents the melding of two bodies as one. (At Chelsea’s Lombard Freid Gallery through Dec 20th).

Huguette Caland, Tete-a-tete, thread on fabric, 73 x 19 x 12 inches, 1971.

Zaha Hadid in ‘Killer Heels’ at the Brooklyn Museum

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Brooklyn Museum’s eye-popping ‘Killer Heels’ exhibition isn’t just for ladies who teeter. As well as design feats (pun intended) and works of art, the show includes architect Zaha Hadid’s NOVA shoe, created from vacuum-casted fiberglass with chrome plated external uppers. Vaguely resembling the sloping exterior of her first New York building currently under construction on the High Line in Chelsea, the shoe might be seen as a mini architectural rendering. (Through Feb 15th).

Zaha Hadid X United Nude, chromed vinyl rubber, kid napa leather, fiberglass, 2013 (left). Tea Petrovic, Wings/Variation, polyamide, faux leather, rubber, 2013 (right).

Daniel Gordon at Wallspace

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Reconstructed images from the Internet form the basis for Brooklyn artist Daniel Gordon’s riotous digital still life collages at Chelsea’s Wallspace Gallery. Vivid color and abundant patterns rival Matisse’s most energetic interiors in this delightfully wacky artistic accumulation of imagery. (Through Dec 20th).

Daniel Gordon, Root Vegetables and Avocado Plant, chromogenic print, 60 x 50 inches, 2014.

Miguel Luciano in ‘Crossing Brooklyn’ at the Brooklyn Museum

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A shaved ice cart, community notice board in the form of an equestrian sculpture and more project-based artwork characterizes Brooklyn Museum’s brief survey of some art trends coming from local artists. Miguel Luciano’s ‘Amani Kites’ – pictured here – originated in a kite-making workshop he directed for kids in Nairobi, Kenya. (Through Jan 4th).

Installation view of ‘Crossing Brooklyn: Art from Bushwick, Bed-Stuy and Beyond,’ at Brooklyn Museum, Nov 2014. Featuring: Miguel Luciano, Amani Kites, paper, string, wooden dowels, photograph on vinyl, Kanga cloth, video, 2012-14.

Mira Dancy adn Sarah Peters at Asya Geisberg Gallery

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New York artists Mira Dancy and Sarah Peters compliment each other’s interest in picturing female bodies in a joint show at Asya Geisberg Gallery that pairs Dancy’s energetic expressionist painting with Peter’s pleasingly strange mannerist sculptures. Here, an erotically posed nude in shades of pink, peach and a vivid yellow contrast a composed character exuding thoughtful calm. (In Chelsea through Nov 26th).

Mira Dancy, Dream of the Unicorn Tapestry, acrylic on canvas, 44 x 40 inches, 2014 (left) and Sarah Peters, Portrait with Long Neck, plaster, 13 x 9 x 8 inches, 2014 (right).

Valeska Soares at Eleven Rivington

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A selection of 365 dust jackets mounted to linen supports by Brooklyn-based Brazilian artist Valeska Soares at Eleven Rivington muses on the passing of time. Not only do the titles refer to temporality, but dated fonts and designs act as a measure of change over a few decades. (On the Lower East Side through Nov 23rd).

Valeska Soares, installation view of ‘Any Moment Now,’ at Eleven Rivington, 195 Chrystie Street, November 2014.

Jonah Freeman and Justin Lowe at Marlborough Gallery Chelsea

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Known for fantastical, druggy, sci-fi environments created temporarily in art venues, Jonah Freeman and Justin Lowe’s current show at Chelsea’s Marlborough Gallery continues their practice of “…using the room as the vehicle for an ethno-fictional display of the remnants of the built world.” This claustrophobic space – one of several distinctly different rooms in the installation – combines store display with tacky domestic furnishings and dated technology (on the floor) to question what might transpire here. (Through Nov 29th).

Jonah Freeman and Justin Lowe, installation view of ‘Floating Chain (High-Res Toni) at Marlborough Chelsea, November 2014.

Shea Hembrey at Bryce Wolkowitz Gallery

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Does it matter if artists make their own work or act as managers in a studio? Arkansas-based artist Shea Hembrey not only makes a point of hand-making his own work, he’s invented five fictional artist/makers for a solo show at Chelsea’s Bryce Wolkowitz Gallery. Here, ‘Pawnee Calhoun’ explores physics with a ‘super collider anomaly’ made from altered hornets nests. (Through Dec 13th).

Pawnee Calhoun, untitled (supercollider anomaly), altered hornet nests, 28 x 35 x 21 inches, 2014.

E.M. Saniga at Steven Harvey Fine Art Projects

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IT professor and artist E.M. Saniga explains that his professional focus – mathematical model building – and his passion for painting are not so dissimilar, both involving abstracting reality in inventive ways. Saniga’s recent series at Steven Harvey Fine Art Projects was inspired by objects unearthed in an 18th century Quaker home and items from museum collections and the imagination. (On the Lower East Side through Nov 16th)

E.M. Saniga, ‘Early Shoes and Quaker Moths,’ oil on panel, 2012-2014.

Jessica Rankin at Salon94 Freemans

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Using maps of the night sky as background, New York artist Jessica Rankin adds phrases and words from her own thoughts and found texts in a fragmented, poetic mediation on cosmic forces and personal experience. (At Salon94 Freemans through Dec 21st).

Jessica Rankin, The Ancient Seat of Indescribable You, graphite, ink and collage on paper, 42 x 42 inches, 2014.

Alan Belcher at Marlborough Gallery

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Now based in Toronto, ‘80s downtown art influencer Alan Belcher makes a New York comeback at Marlborough Gallery this month with work including this ceramic plaque of a .jpg file kept tantalizingly closed. (On the Lower East Side through Nov 16th).

Alan Belcher, ____.jpg, glazed ceramic plaque, 10 x 7 ½ x 1 ½ inches, 2014.

Kay Hassan at Jack Shainman Gallery

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Working from torn billboard posters, Johannesburg-based artist Kay Hassan created this monumental untitled piece at Jack Shainman Gallery over ten years ago. Explaining that it represented dispossessed people, Hassan points to the eye in the middle as a symbol of looking and praying for justice. (Through Nov 15th).

Kay Hassan, Untitled, paper construction, 268 ½ x 132 inches, 2001-03.

Hans Haacke at Paula Cooper Gallery

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Ever politically minded, New York based artist Hans Haacke presents new work at Paula Cooper Gallery targeting the Metropolitan Museum of Art’s new fountains, funded by political conservatives, the Koch Brothers. Flanked by pictures of the fountain and seemingly buoyed by doctored $100 bills, Haacke’s Met façade offers businesses the opportunity to park a corporate name on the building. (Through Nov 22nd).

Hans Haacke, The Business Behind Art Knows the Art of the Koch Brothers, UV matted laminated color inkjet photo mounted on aluminum, photo-collaged hundred dollar bills, 2014.

Heinz Mack at Sperone Westwater Gallery

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As a founder of the post-war European ‘Zero’ Group, Heinz Mack explored the effects of light and various reflective materials in an attempt to take his art back to an experimental stage, or conceptual ground zero. Here, a ‘light relief’ sends the eye shooting around a surface of raised patterns as the light conditions and reflections in the gallery define the viewing experience. (At Sperone Westwater Gallery on the Lower East Side through Dec 13th).

Licht-Relief (Pyramide), aluminum and wood, 29 1/8 x 34 x 2 5/8 inches, 2004.

Ursula von Rydingsvard at Galerie Lelong

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The title of this towering sculpture in graphite-rubbed cedar by Ursula von Rydingsvard – ‘Dumna’ – implies dignified pride. Ending with –a indicates the feminine form of the word. Solid as a geological formation yet seeming to sway in graceful contrapposto, the title seems appropriate. (At Galerie Lelong through Dec 13th).

Ursula von Rydingsvard, Dumna, cedar, graphite, 130 x 97 x 64.5 inches, 2014.

Jennifer Paige Cohen at Nicelle Beauchene Gallery

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Trained in dance, Brooklyn-based artist Jennifer Paige Cohen translates her experience with bodies in movement into lively sculptures made with colorful plaster-cast garments that echo arrangements of body parts. (At Nicelle Beauchene Gallery on the Lower East Side through Nov 9th).

Jennifer Paige Cohen, Let the Sunshine In (The Flesh Failures), sweater, plaster, stucco, 2013.

Gedi Sibony, All at Greene Naftali

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Though it’s tempting to dismiss New-York based artist Gedi Sibony’s new works – rectangles cut from aluminum semi-trailers – as gimmicky abstraction, scrapes, dents and gashes lend each a certain authenticity. Redacted text, as in the covered up letters ‘ALL,’ suggest a hasty attempt at erasing the past. (At Greene Naftali Gallery through Nov 8th).

Gedi Sibony, All, aluminum semi-trailer, 101 ¾ x 104 ¾ inches, 2014.

Judy Pfaff at Pavel Zoubok Gallery & Loretta Howard Gallery

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Known for abstract art crafted with a superabundance of non-art materials, Judy Pfaff outdoes herself in two solo shows at Chelsea’s Pavel Zoubok Gallery and Loretta Howard Gallery. Here, she uses paper lanterns, honeycombed paper and expandable foam in a floor-to-ceiling artwork that suggests explosive force, high temperatures, decay and fossilization. (This piece included in Pavel Zoubok’s installation, both shows through Nov 15th).

Judy Pfaff, Belle Starr/Blue Duck, paper, pigmented expanded foam, acrylic, resin and honeycomb, 118 x 132 x 24 inches, 2014.

Elizabeth Jaeger at Jack Hanley Gallery

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Anxious greyhounds greet visitors to Elizabeth Jaeger’s debut solo show at LES gallery Jack Hanley, setting an oddly expectant mood. Though the space is too large and bright to convey much angst, Jaeger’s weirdly proportioned animals are winningly lively. (Through Nov 9th).

Elizabeth Jaeger, installation view of ‘Six-Thirty’ at Jack Hanley Gallery, October 2014. (Includes ‘Yet to be Titled (Dog),’ ceramic, hydrocal, loose graphite, house paint/latex paint, leather, brass.)

Thomas Scheibitz at Tanya Bonakdar Gallery

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In signature strong colors and geometric abstraction, Berlin-based artist Thomas Scheibitz’s new painting series riffs on the endless possibilities for creativity in the artist’s studio. Here, a small table seems to support a letter, a number, various experiments and a giraffe-like form also resembling an electrical plug that energizes the whole arrangement. (At Tanya Bonakdar Gallery in Chelsea through Dec 20th).

Thomas Scheibitz, Studio Imaginaire, oil, vinyl, pigment marker on canvas, 114 1/5 x 70 7/8 inches, 2014.

El Anatsui at Jack Shainman

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Ghanaian artist El Anatsui continues to work magic on discarded materials with a new show of textile-like wall hangings crafted from liquor-bottle tops. Though abstract, the gorgeous designs recall maps or luxurious fabrics. (At Jack Shainman Gallery’s 24th Street Chelsea location, through Nov 15th).

El Anatsui, Another Place, 110 x 123inches, found aluminum and copper wire, 2014.

Rose Eken at The Hole NYC

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Danish artist Rose Eken lovingly recreates an imagined punk rock venue cum anthropological display with her ‘Remain in Light’ installation at The Hole. Here, she’s arranged cigarette lighters, butts, matches, beer bottles, amps and many, many more artifacts handmade from paperclay in what the gallery calls, ‘…a personalized memorial to NYC’s dwindling lawless zones and the mayhem they contained.’ (Through Nov 2nd).

Rose Eken, installation view of ‘Remain in Light’ at The Hole, Oct, 2014.

Arturo Herrera at Sikkema Jenkins

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Found paintings, shopping bags, books and more items gathered from his everyday life in Berlin and New York inspired the abstract collage-paintings in Arturo Herrera’s latest solo show. (At Sikkema Jenkins in Chelsea through Nov 15th).

Arturo Herrera, Untitled (Liebe), mixed media on canvas, 43.25 x 22.5 inches, 2014.

Wang Guangle at Pace Gallery

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Inspired by the Fujianese practice of adding an annual coat of lacquer to your coffin in old age, Beijing-based painter Wang Guangle adds layers of paint to his ‘Coffin Paint’ canvases to signify the passage of time. (At Pace Gallery, 510 West 25th Street, through Nov 1st).

Wang Guangle, (detail) Coffin Paint 140404, acrylic on canvas, 2014.

Alyson Shotz at Derek Eller Gallery

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Art and science meet in Alyson Shotz’s otherworldly steel wire and glass bead sculpture at Derek Eller Gallery. Titled ‘Invariant Interval’ after the spaces between coordinates in a grid that measures spacetime, the piece achieves Shotz’s goal of “…investigating the basic forces that shape our entire physical and metal experience of life” while managing to look gorgeous at the same time. (In Chelsea through Nov 8th).

Alyson Shotz, installation view of Invariant Interval, stainless steel wire, glass beads and aluminum collars, 98 x 104 x 230 inches, Derek Eller Gallery, Oct 2014.

Liu Bolin at Klein Sun Gallery

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Beijing-based artist Liu Bolin pictures himself in this larger-than-life sculpture going through airport security. Contrary to the freedom of flying, the artist describes this gesture as abandoning independence and offering a prayer for safety. Covered in designs based on snack food packaging, Liu Bolin simultaneously suggests identity further compromised. (At Chelsea’s Klein Sun Gallery through Nov 1st).

Liu Bolin, Security Check No 1, acrylic on copper, 80 ¾ x 37 3/8 x 21 5/8 inches, 2014.

Jeremy Deprez at Zach Feuer Gallery

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Titled ‘Chuck’ after his travelling salesman father, Houston-based artist Jeremy Deprez’s huge abstract painting takes its cue from a popular vertical stripe pattern in men’s dress shirts. Sized XXL (at over 14 feet long), the painting is a tour de force of optical illusion and gives new meaning to the concept of power dressing. (At Zach Feuer Gallery in Chelsea, through Nov 8th).

Untitled (Chuck), acrylic on canvas, 111 x 176 1/2, 2014.

Ai Wei Wei at Chambers Fine Art

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This small exhibition of work by the Chinese dissident artist Ai Wei Wei at Chelsea’s Chambers Fine Art shows the artist continuing to work on themes related to the 2008 earthquake in Sichuan province. Here, a marble rendering of a twisted piece of metal rebar is placed on each casket, acting as memorial to the thousands of children who died when their shoddily constructed schools collapsed. (Through Nov 1st).

Ai Wei Wei, installation of ‘Rebar Casket and Marble Rebar,’ nos I – VIII, huali wood, marble and foam, 2014.

Sadie Benning at Callicoon Fine Arts

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Black, yellow, red and white rectangles in Sadie Benning’s ‘Julie’s Rug’ painting suggest a national flag but the title refers to artist, activist and Group Material co-founder Julie Ault. Part of Benning’s solo show ‘Patterns’ at Callicoon Fine Arts on the Lower East Side, the handmade forms zing with energy and import. (Through Oct 26th).

Sadie Benning, Julie’s Rug, medite, aqua resin, casein and acrylic, 60 5/8 x 70 3/8 inches, 2014.

Ann Wilson at The Drawing Center

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Inspired by the fact that the Drawing Center’s 1866 SoHo building originally housed a loom company, Chicago-based artist Anne Wilson’s installation is an artwork being gradually created by winding and crossing thread around the gallery’s columns. (Through December 14th).

Anne Wilson, To Cross (Walking New York), site-specific performance and sculpture, 2014.

Tomma Abts at David Zwirner Gallery

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Though German artist Tomma Abts makes no use of source material, preferring to conjure shapes and forms from an intuitive trial and error process, the shapes in ‘Fenke’ brings to mind origami forms, unwrapped packaging and more. Playing with our perception of depth, she even slices a corner from this soothingly green canvas. (At David Zwirner Gallery through Oct 25th).

Tomma Abts, Fenke, acrylic and oil on canvas, 18 7/8 x 15 inches, 2014.

Jane Corrigan at Kerry Schuss

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Jane Corrigan blends average looks and extraordinary hair in portraits of young female athletes, finding moments of wonder in the everyday. (At Kerry Schuss on the Lower East Side through Oct 26th).

Jane Corrigan, Windbreaker (Adidas), oil on linen, 26.5 x 31 inches, 2014.

Stanley Lewis at Betty Cuningham Gallery

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Whether he’s building up a support from layers of paper or putting down thick strokes of paint, American painter Stanley Lewis constructs heavily considered, highly absorbing scenes from the world around him. (At Betty Cuningham Gallery, now located on the Lower East Side, through October 25th).

Stanley Lewis, (detail from) Boat on the Beach, Lake Chautauqua, oil on canvas, 2013.

Irving Norman at Michael Rosenfeld Gallery

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Mass groups of nude men and women, pawns in a larger social design, populate European-American artist Irving Norman’s work from the late 60s to 80s, now on view at Michael Rosenfeld Gallery. Here, futuristic planes packed with passengers shoot out polluting smoke as they blast ominously forward. (In Chelsea through October 25th).

Irving Norman, Airport, oil on canvas, 92 x 119 ¾ inches, 1972.

‘Body Electric’ at Ricco Maresca

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Ricco Maresca’s excellent ‘Body Electric’ group exhibition of vintage and designed-for-the-body contemporary art takes tattooing to a new level. Here, a sampling of work from Colin Dale (top left), Jacqueline Spoerle (bottom right and left) and Duke Riley (top right) combine detail, skill and originality. (In Chelsea through Oct 25th).

Installation view of ‘Body Electric,’ including work by Colin Dale, Jacqueline Spoerle and Duke Riley at Ricco Maresca, Oct, 2014.

Andrea Robbins & Max Becher at Sonnabend Gallery

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Famous for photographing evidence of cultural mixing/cross-over, artist duo Robbins and Becher travelled the country shooting images of Ten Commandment sculptures, some of which have sparked controversy when placed on public property. Here, the world’s largest version features letters five feet high. (At Chelsea’s Sonnabend Gallery through Oct 25th.)

Andrea Robbins and Max Becher, Fields of the Wood, Murphy, North Carolina.

Mark di Suvero, Luney Breakout at Paula Cooper

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The title of New York sculptor Mark di Suvero’s latest monumental steel sculpture, ‘Luney Breakout,’ says it all. Resembling a zany all-elbows-and-knees character with wild swooping hair, the 22 foot tall piece is either mad, exuberant or both. (At Paula Cooper Gallery’s 534 West 21st Street location, through Oct 22nd.)

Mark di Suvero, Luney Breakout, 22 ft, 3 inches, x 22 ft, 6 inches x 12 ft, 6 inches, steel, 2013.

James Siena at Sargent’s Daughters

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Using his collection of manual typewriters, James Siena departs from his characteristic patterned, ruled-based paintings to designs resembling concrete poetry in a joint show with Orly Genger at Sargent’s Daughters. Including both legible numbers and abstract design, works like this one create an entertaining conundrum for the eye. (On the Lower East Side through Oct 26th).

James Siena, 1234567890 (ascending and descending in two directions), ink on paper, 11 x 8 ½ inches, 2013.

Agniszka Kurant at Tanya Bonakdar Gallery

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‘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.

Genieve Figgis at Half Gallery

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Irish artist Genieve Figgis reaches back into history for characters to populate her paintings of cultured pastimes and leisure pursuits, but she seems to only partly resuscitate her ghoulish figures. Here, an 18th century social gathering includes crazed and casual guests. (At Half Gallery on the Upper East Side through Oct 25th).

Genieve Figgis, A Social Portrait, acrylic on canvas, 39.3 x 23.6 inches, 2014.

Rachel Lee Hovnanian at Leila Heller Gallery

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Slip on a hospital smock and you can test drive a ‘perfect baby’ model in Rachel Lee Hovnanian’s nursery/showroom at Leila Heller Gallery’s Chelsea location. Hovnanian’s dystopic vision looks ahead to a time when it’s possible to engineer perfect achievers; each baby comes with its own stellar future resume. (Through October 18th).

Rachel Lee Hovnanian, Perfect Baby Showroom, wallpaper, extension cords, baby dolls, metal, acrylic, wood, neon light, foam, cotton fabric, LED lights, cereal, dimensions variable, 2014.

Allora & Calzadilla at Barbara Gladstone Gallery

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Quoting from literature through the ages, two boys choir members trade insults in sweet, soaring voices as they move around Barbara Gladstone Gallery climbing and sitting on marble slabs. Human emotion, soon-to-change voices and eternal forces of nature are artist duo Allora & Calzadilla’s interests in the performance they’ve orchestrated. (Through October 11th).

Allora & Calzadilla, installation view of the performance ‘Fault Lines’ at Barbara Gladstone Gallery, Sept 2014.

Derrick Adams at Jack Tilton Gallery

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Early TV sitcoms, news shows, music videos and more inspired new sculpture and 2-D collage by New York artist Derrick Adams at Jack Tilton Gallery. His ‘Boxhead’ characters, like this girl, are colorful and attention-grabbing ciphers. (On the Upper East Side through October 18th).

Derrick Adams, Boxhead #3, mixed media 23 x 28 x 19 inches, 2014.

Jonathan Monk at Casey Kaplan Gallery

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In a move bound to irk art-lovers who want to see hands-on art making, British conceptual artist Jonathan Monk riffed on Jeff Koons’ fabricated rabbit sculpture by copying it, slightly deflated in 2009. Now, he’s presenting a remake of that piece, but he worked from photos rather than actual measurements of the original, suggesting a tiny measure of creativity or freedom from exactitude. (At Chelsea’s Casey Kaplan Gallery through October 18th).

Jonathan Monk, A Copy of Deflated Sculpture No. 1, stainless steel, 40.5 x 23 x 15”, 2014.

Julie Blackmon at Robert Mann Gallery

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Missouri-based photographer Julie Blackmon’s take on the Beatles Abbey Road album cover suggests a different kind of band – a precociously independent group of young entrepreneurs marching along to the beat of their own drummer. (At Chelsea’s Robert Mann Gallery through October 18th).

Julie Blackmon, Thin Mints, 59 x 81.625 inches, 2014.

Deborah Butterfield at Danese Corey

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It’s hard to believe that Deborah Butterfield’s latest horse sculptures are crafted from bronze, the patina applied to their surface is so believable. Each towering creature represents a different animal’s character and mood, making this show a must-see for more than just horse-lovers. (At Chelsea’s Danese Corey through October 11th).

Deborah Butterfield, Otter, unique cast bronze with patina, 91.25 x 117 x 33 inches, 2014.

Shai Kremer at Julie Saul Gallery

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As many as 100 photographs might be layered into one of Israel/New York-based artist Shai Kremer’s images of One World Trade Center’s construction site, to which he had special access from 2011 – 2013. This photo turns construction into a pleasing geometry that balances ladders and girders while just hinting at the incredible amount of activity – on and behind the scenes – that went into rebuilding this site. (At Julie Saul Gallery through October 25th).

Shai Kremer, World Trade Center: Concrete Abstract #13, pigment print, 48 x 64 inches, 2011-2013.

Sophie Crumb at DCKT Contemporary

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Sophie Crumb ups the absurdity of a 2007 Paris Vogue supermarket fashion shoot with her skillful watercolor and ink renditions of the original magazine photos. Sharing a show with her mother, Aline Crumb at Lower East Side gallery DCKT Contemporary, both artists present fascinating portraits of fashion victims. (Through October 19th).

Sophie Crumb, Le Gout des Robes, watercolor & ink on paper, 12 7/8 x 17inches, 2011.

Greg Parma Smith at David Lewis Gallery

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Layers of patterned origami paper painted onto canvas appear to be paper-clipped onto their supports in Greg Parma Smith’s inventive solo show at David Lewis Gallery. Behind them, a host of animated characters suggests that people and paper are waiting to be transformed into something more – a story set against a patterned backdrop? (On the Lower East Side through October 5th).

Greg Parma Smith at David Lewis Gallery, September, 2014.

Dan Colen at Gagosian Gallery

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Multi-media artist and media darling Dan Colen points to Disney films as a source for his latest, mostly abstract, paintings collectively called ‘Miracle.’ Here, ‘The Sorcerer’s Apprentice’ features an arc of sparkles painted in raw pigment and oil. Colen’s process-based style is so fashionable at the moment as to prompt the question of whether this piece demonstrates magic with painting or marketing. (At Gagosian Gallery through October 18th).

Dan Colen, The Sorcerer’s Apprentice, oil and raw pigment, 67 x 102 inches, 2013.

Markus Linnenbrink at Ameringer McEnery & Yohe

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Known for vivid paintings composed of layers or drips of resin, German artist Markus Linnenbrink takes his embrace of color a step further in his latest solo show at Chelsea’s Ameringer McEnery & Yohe by creating an installation in the gallery’s back room that allows visitors to walk right into a painting. (Through October 4th).

Markus Linnenbrink, installation view at Ameringer McEnery & Yohe, Sept 2014.

Tom Fruin at Mike Weiss Gallery

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Brooklyn-based artist Tom Fruin recalls Lady Liberty’s flame and the colorful city grid in new sculpture at Chelsea’s Mike Weiss Gallery – both to be appreciated from the seat of a custom-designed swing. (Through October 18th).

Tom Fruin, (left) Billboard, powder-coated laser-cut steel, Plexiglas and painted aluminum, (right) Flame, steel and Detroit factory window glass, Dutch Masters Swing (Blue), powder-coated laser-cut steel and found chain, all three pieces 2014.

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

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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.

Fred Wilson at Pace Gallery

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Fred Wilson seems to bait his viewers by draining his show at Pace Gallery of color, presenting two austere bronzes in black and white, monochromatic flags from African and African diasporic countries, and more. The oversimplified dichotomy between black and white clashes with the variety of cultures represented by the sculpture and flags, encouraging a more nuanced engagement with racial difference. (In Chelsea through October 18th).

Fred Wilson, The Mete of the Muse, bronze with black patina and bronze with white paint, 2006.

Mona Hatoum with Inaash at Alexander & Bonin Gallery

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Traditional women’s work becomes political in an international way in Mona Hatoum’s latest solo show at Chelsea’s Alexander and Bonin Gallery. Featuring panels woven by Palestinian refugees in Lebanon, the installation symbolizes cultural practices interrupted by war. (Through October 18th).

Mona Hatoum with Inaash, Twelve Windows, 12 pieces of Palestinian embroidery on fabric, wooden clothes pegs, steel cable, each 39 3/8 x 29 3/8 inches, 2012-13.

Not Vital at Sperone Westwater

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Globe-trotting Swiss artist Not Vital fills Sperone Westwater’s Lower East Side gallery with stainless steel heads that echo the austere, clean line of the gallery’s architecture. As much as the reflective material draws the viewer in, however, the uniform, monochromatic surface repels investigation into the character of these heads, which were partly inspired by huge Buddha the artist encountered in his travels. (Through October 4th).

Not Vital, installation view of ‘Everton’ at Sperone Westwater Gallery, September 2014.

Marlene McCarty at Sikkema Jenkins

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Marlene McCarty closes out her ‘Murder Girls’ series that pictures girls who have killed with this huge, four-part ballpoint and graphite drawing. Instead of showing the face of someone who has taken a life, McCarty hides it in a screen of wild hair, suggesting mental turmoil. (At Sikkema Jenkins in Chelsea through Oct 4th).

Marlene McCarty, series titled: ’14,’ graphite and ballpoint pen on paper, 71 x 94 inches each of four drawings, 2014.

Jean Lowe at McKenzie Fine Art

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Jean Lowe’s imagined auction items in her latest exhibition, supposedly culled from historical papers and ephemera, demonstrate the artist’s delightfully absurd sense of humor while poking fun at what might be considered sale-worthy at auction. (At McKenzie Fine Art through Oct 12th).

Jean Lowe, ‘Ephemera (Lost Time),’ acrylic and watercolor on paper, 22 ¼ x 19 ¼ inches, 2013.

Marco Breuer at Yossi Milo Gallery

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Marco Breuer’s endless experimentation with abstract photography continues with a new show at Chelsea’s Yossi Milo Gallery for which he folds, burns, scratches, and and scrapes the surface of photos to create layered records of removed information. (Through Nov 1st).

Marco Breuer, Untitled (C-1471), chromogenic paper, folded/burned/scraped, 15 ½ “ x 12 1/16,” unique, 2014.

Paul Villinski at Morgan Lehman Gallery

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Butterflies inspire and energize New York City artist Paul Villinski’s sculptural practice, which includes a self-portrait sculpture that doubles as a butterfly habitat, butterflies crafted from cans, and a purpose-built containment area designed to breed butterflies (pictured here in detail). His latest show at Morgan Lehman in Chelsea features all three projects, collectively showcasing the wonder of this insect. (Through Oct 11th).

Paul Villinski, (detail) Butterfly Machine, mixed media, electric and hydroponic components, plants, butterflies, 2014.

Justine Kurland at Mitchell-Innes and Nash

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Cars have given photographer Justine Kurland the freedom to travel the country shooting unforgettable photos on her road trips; her latest series is a gritty but beautifully shot homage of sorts to the mechanics who keep them going. (At Mitchell-Innes and Nash in Chelsea through October 11th).

Justine Kurland, For Abigail, inkjet print, 18 ½ x 24 inches, 2014.

Anissa Mack at Laurel Gitlen Gallery

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A low sound of waves and chirping is a subtle accompaniment to Anissa Mack’s clusters of helium dolphins; this hint of ‘real’ nature sharply contrasts the balloons’ reference to theme parks and carnivals and adds a little whimsy and wonder to mass produced inflatables. (At Laurel Gitlen Gallery on the Lower East Side through October 19th).

Anissa Mack, installation view of ‘Deep, Deep Pepsi’ at Laurel Gitlen Gallery, Sept 2014.

Paul Graham at Pace Gallery

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New York-based British photographer Paul Graham mixes and scatters photos of rainbows shot in Ireland, pawn shops and images of his young partner asleep on the walls his latest solo show at Pace Gallery in a somewhat obvious but nevertheless beautiful mediation on finding your luck. (At Pace Gallery’s 510 West 25th Street location through Oct 4).

Paul Graham, installation view of ‘Does Yellow Run Forever?’ at Pace Gallery’s 510 West 25th Street location, Sept, 2014.

Johannes VanDerBeek at Zach Feuer Gallery

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How do babies see the world without benefit (or burden) of language and experience in interpreting forms? This question inspired Brooklyn artist and new father Johannes VanDerBeek’s more or less obviously human figures, including this flattened, rabbit-like form and a striding figure at Chelsea’s Zach Feuer Gallery (through Oct 4th).

Johannes VanDerBeek, to the left: Running in Grass, aqua-resin, fiberglass, steel, clay, silicon, paint, 65 x 45 inches, 2014. To the right: Early Outline with Leaning Features, Celluclay, Aqua-Resin, paint, steel, including base: 87 x 24 x ¼ inches, 2014.