Bruce Nauman at Gagosian Gallery

Seventeen taxidermy molds of foxes, deer and caribou by iconic conceptual artist Bruce Nauman are poised like an acrobatic troupe but are more creepy than entertaining. Nauman ups the discomfort by keeping them hairless to suggest that they’ve experienced an unnamed brutality. (At Gagosian Gallery’s 821 Park Ave location through Feb 21st).

Bruce Nauman, Animal Pyramid, polyurethane foam, iron, wood, and wire, 144 x 84 x 96 inches, 1989.

Noriyuki Haraguchi at Fergus McCaffrey Gallery

This gorgeous reflecting pool by Japanese artist Noriyuki Haraguchi – an update on his iconic versions from the 70s – is the picture of serenity in the pristine upstairs gallery of Chelsea’s Fergus McCaffrey Gallery. Contrary to appearances, though, the pool is full of spent machine oil, a symbol of our attraction to a natural resource with not-so-beautiful byproducts. (Through Feb 21st).

Noriyuki Haraguchi, Oil Pool, steel, spent motor oil, 24 x 12 feet.

Harold Edgerton at Sikkema Jenkins & Co

A cup shatters, a golfer swings and a bullet pierces balloons in photos by late scientist Harold Edgerton, who made time freeze with the aid of an electric strobescope. This image of three bursting balloons demonstrates three stages of destruction with arresting beauty. (At Sikkema Jenkins & Co through March 7th).

Harold Edgerton, Bullet Through Three Balloons, gelatin silver print, 30 x 48 inches, 1959, printed 1989.

Leonhard Hurzlmeier in ‘Proper Nouns’ at Rachel Uffner Gallery

This mildly racy painting by young German artist Leonhard Hurzlmeier of a dentist getting ready in the morning gives pause for thought – is she demonstrating extreme skill or incredible awkwardness? (At Rachel Uffner Gallery through Feb 22nd).

Leonhard Hurzlmeier, Zahnarztin bei der Morgantoilette (Dentist Getting Ready), oil on canvas, 38.4 x 27.2 inches, 2013/14.

Jonathan Callan in ‘The Suspended Line’ at Josee Bienvenu Gallery

British artist Jonathan Callan’s serene white mountain range encases a selection of books on nature (including ‘All About Lions,’ and ‘Bird Neighbors’) in plaster, suppressing knowledge of nature in favor of imitating it. (In ‘The Suspended Line’ at Josee Bienvenu Gallery in Chelsea through Feb 28th).

Jonathan Callan, Range, paper and plaster, 33.85 x 21.25inches, 2012.