Fred Wilson Installation at Pace Gallery

Fred Wilson continues to consider African diasporic populations of the Mediterranean in a selection of recent work commissioned for the 15th Istanbul Biennial, currently on view at Pace Gallery in Chelsea.  Uncharacteristically dark-toned Iznik tile walls include the text ‘Black is Beautiful’ and ‘Mother Africa’ in elaborate Arabic script while chandeliers combine black Murano glass from Venice with metal elements that evoke Ottoman design.  Wilson’s installation merges diverse traditions with dramatic flair and elegance, suggesting complexity in the histories his art investigates. (On view through August 17th).

Fred Wilson, installation view at Pace Gallery, July 2018.

JR at Galerie Perrotin

French street artist JR is back in town this summer with a show of photography, sculpture and installation that continues his outspoken advocacy for vulnerable populations. In this aerial overview, we see the eyes of Mayra, an undocumented immigrant who arrived in California as a child.  Used as backdrop for a picnic on both sides of the US/Mexican border, the image counters division with unity.  (On view at Galerie Perrotin on the Lower East side through August 17th).

JR, Migrants, Mayra, Picnic across the border, Quadrichromie, Tecate, Mexico – USA, 4-color print on paper, mounted on cotton canvas, wooden frame, ½ offset printing plate, h 92 1/8 x l. 186 5/8 inches, 2018.

Genesis Belanger in ‘Distortions’ at Nathalie Karg Gallery

A disembodied, boneless hand by Brooklyn artist Genesis Belanger is equal parts attractive and creepy, part of a table-top arrangement of stoneware sculpture that includes a languid cigarette, two partially consumed Pink Lady apples and a lamp with a severely pinched-waist.  Part of Nathalie Karg Gallery’s summer group show ‘Distortions,’ Belanger’s sculpture provocatively blurs the line between human bodies, food and consumer objects in what the New Yorker proffered as ‘funny-pages Surrealism.’ (On view on the Lower East Side through August 15th).

Installation view of works by Genesis Belanger, including Acquiesce (hand in foreground), stoneware, brass, plaster, 13 ½ x 7 ½ x 6 inches, 2018 and Birthday Suit (Background), stoneware, brass, plaster and linen lampshade, 37 ½h x 13w x 14d inches, 2018.

Jean Terry Efiaimbelo at Galerie Perrotin

Inspired by traditional grave-marking sculpture, Late Malagasy artist Jean-Jacques Efiaimbelo’s artistic practice continues in the vibrant work of his male descendants.  Galerie Perrotin’s beautifully installed selection of symbolically rich figurative scenes, carved from the sacred wood Mendorave, includes this sculpture of a music group.  Somber but lively, the musicians play Tsapiky music – popular at funerals and other ceremonies.  (On view on the Lower East Side through August17th).

Jean Terry Efiaimbelo, Tsapiky music band, wood, paint, 69 11/16 x 21 ¼ x 7 7/8 inches, 2016.

Robert Gober in ‘Dime Store Alchemy’ at Flag Art Foundation

Robert Gober’s sculpture ‘Heart in a Box’ demonstrates more commitment than sending a valentine card or loading a text with heart-eye emojis. A standout in the Flag Art Foundation’s smart summer group show, ‘Dime Store Alchemy,’ curated by Jonathan Rider, it advances the exhibition’s meditation on art delivered in a particular setting, box or kind of framing device.  Gober’s typical handcrafting is an added thrill as what appears to be a cardboard box is actually painted corrugated aluminum.  (On view through August 17th).

Robert Gober, Heart in a Box, corrugated aluminum, cast glass, paper plaster and ink, 6 ½ x 13 x 12 inches, 2014-15.

Drake Carr at The Hole NYC

Drake Carr’s acrylic and airbrush on canvas sculptures bring animation into three dimensions in a way that feels both fresh and disconcerting.  To the right, a dancer looks set to leap off the wall.  Behind, Carr nods to his mother’s window dressing business with a curtain arrangement that frames two weight lifters in a dramatic domestic setting.  Two freestanding characters to the left represent residents of Flint (Carr hails from Michigan) whose odd gestures represent the unnatural quality of the city’s tainted water.  (On view on the Lower East Side at The Hole NYC through August 12th).

Drake Carr, installation view of ‘Gulp’ at The Hole, NYC, July 2018.

Lynette Yiadom-Boakye at Greene Naftali Gallery

Humor, irony and abjection abound in Greene Naftali Gallery’s summer group show ‘Painting Now and Forever, part III,’ a collaboration with Matthew Marks Gallery, but none of these qualities are found in British artist Lynette Yiadom-Boakye’s fictional portrait titled ‘Jubilee.’  Instead, Yiadom-Boakye’s elevated characters – backlit in this case by a golden glow – are quietly exalted, seemingly above everyday life and happy in their own company and thoughts.  (On view in Chelsea through August 17th).

Lynette Yiadom-Boakye, Jubilee, oil on canvas, 41 ½ x 35 ¾ inches, 2016.

Meredith Allen in ‘Les Fleur du Mal’ at Pierogi Gallery

Summer takes a slightly sinister turn at Pierogi Gallery’s ‘Les Fleur du Mal’ group show; here, a photo from the late Williamsburg gallery scene stalwart Meredith Allen’s ‘Melting Ice Pops’ series documents a Pokemon treat as it morphs into a dripping demon.  (On view on the Lower East Side through Aug 4th).

Meredith Allen, Moriches Island Road, Pokemon, C-print, 18 x 22 inches, 1999.

Alexis Rockman at Sperone Westwater Gallery

Human-created pollution vies with a vividly colored frog to attract the eye in Alexis Rockman’s 2012 watercolor titled ‘Effluent,’ now on view at Sperone Westwater Gallery.  Rockman’s artful activism appears alongside new field drawings from New Mexico of plants and animals from the region that are extinct, living or threatened.  (On view on the Lower East Side through August 3rd).

Alexis Rockman, Effluent, watercolor and ink on paper, 18 x 24 inches, 2012.

Daniel Gordon at Jack Hanley Gallery

Taking flowers or nature as the theme for a summer group exhibition isn’t particularly original or necessarily avant-garde.  Still, nature’s beauty and uplift as symbol of regeneration is irresistible to audiences and to the curators of ‘A Rose is a Rose is a Rose’ at Jack Hanley Gallery, who apologetically admit that painting flowers is ‘embarrassing.’  This paper sculpture by Daniel Gordon, which recalls still lives throughout art history (think Cezanne and Matisse) and pushes the possibilities of photography as sculpture, suggests that the show’s organizers have nothing to worry about.  (On view on the Lower East Side through August 3rd).

Daniel Gordon, Poppies, Pitcher & Fruits, pigment prints, glue and wire, 41 x 51 x 18 inches, 2018.

Chelsea Seltzer & Theo Rosenblum at Asya Geisberg

Chelsea Seltzer & Theo Rosenblum reduce a kid’s party to essentials – cake and pizza – then bring the refreshments to life in this wonderfully absurd sculpture at Asya Geisberg Gallery.  Both delicious and disgusting, funny and disturbing, innocent and sinister, Seltzer and Rosenblum’s character pushes all kinds of buttons.  (On view in ‘Alive with Pleasure’ at Asya Geisberg Gallery in Chelsea through Aug 3rd).

Chelsea Seltzer & Theo Rosenblum, Pizza Cake, wood, foam, epoxy clay, plastic and acrylic paint, 18h x 12w x 10d inches, 2018.

Helene Appel at James Cohan Gallery

Soap suds, sand and spaghetti are the mundane subjects of Helene Appel’s extraordinary new paintings at James Cohan Gallery.  A muted palette and minute detail make it necessary to draw close to finely detailed renderings of beach sand and glistening soap bubbles.  From a few feet away, this painting (seen in detail) delights as a trompe l’oeil rendering of a delicately colored fishing net while doubling as an energetically free, grid-busting abstraction. (On view on the Lower East Side through July 27th).

Helene Appel, detail of Blue Net Painting, acrylic and watercolor on linen, 92 ½ x 155 ½ inches, 2018.

Jamal Nxedlana in ‘Summer Open’ at Aperture Gallery

Jamal Nxedlana’s portrait of South African stylist Bee Diamondhead leaps off the wall in Aperture Gallery’s ‘Summer Open,’ offering a tantalizing glimpse of South Africa’s fashion elite.  (On view in Chelsea through August 16th).

Jamal Nxedlana, Bee Diamondhead, 2017. Installation view in Aperture Summer Open at Aperture Gallery in Chelsea, July 2018. From an editorial feature in Bubblegum Club.

Hein Koh in ‘Seed’ at Paul Kasmin Gallery

Hein Koh’s ‘Big Mother of Pearl’ sculpture injects a note of humor in Paul Kasmin Gallery’s summer group show, ‘Seed,’ curated by Yvonne Force.  Force identifies a spiritual generative force in the act of creating art; Koh’s curvy, colorful and rhinestone-glittery shell has just produced a pearl that resembles an eye and a portal into other galaxies.  (On view in Chelsea through August 10th).

Hein Koh, Big Mother of Pearl, acrylic, Aqua-Resin, fiberfill, fiberglass, glitter, Hydrocal, rhinestones, spandex, string, styrofoam, velvet, 16 – 31 (adjustable) x 60 x 36 inches, 2017.

Phillip King at Luhring Augustine Gallery

True to its name, British octogenarian Phillip King’s dynamic ‘Swirl’ suggests a sudden levitation of two perforated sheets of polyurethane foam from two anchoring black triangular shapes.  It’s vivid color that gives this lively new work its lift though, including the bold tones on Luhring Augustine’s gallery walls.  (On view in Chelsea through August 10th).

Phillip King, Swirl, polyurethane foam, paint, edition 1 of 2, 222 1/8 x 118 1/8 x 118 1/8 inches, 2018.

Julie Bena at Chapter NY

Whether they’re teeth or a quadrupled epiglottis, the line of metal balls in each of these three mouth sculptures by Julie Bena suggests ways in which language might follow Newton’s laws.  If each of these joyous, dismayed or just loud mouths spoke, would their words have a momentum that wouldn’t diminish?  How would the energy of each person’s thoughts change form as it manifested in each individual?  (At Chapter NY as part of the multi-gallery group exhibition Condo New York.  Chapter is hosting Adams and Ollman).

Julie Bena, installation view at Chapter NY, July, 2018. Foreground: 3 Mouths Are Largely Enough (Hearthy), powder coated metal, 8 ¾ x 11 x 2 ¾ inches, 2017.

Rachel Lee Hovnanian Sculpture at Leila Heller

A huge, flawless bar of soap in Carrara marble acts as an icon of purity in Rachel Lee Hovnanian’s current solo show at Leila Heller Gallery.  The third in a series of consecutive exhibitions by the artist at this Chelsea gallery, the show encourages introspection and the chance to ‘clean up’ some mental baggage.  Assistant by gallery staff, a visitor can write down something (s)he’d like to eliminate from her/his life on one of the cast plaster soaps stacked against the gallery wall, then smash the soap with a mallet.  (On view in Chelsea through July 20th).

Rachel Lee Hovnanian, PURE Marble Large, carrara marble, 15 x 10 ½ x 3 ¾ inches, ed of 8, 2018.

Red Grooms in ‘Stereo Love Seats Hot Wheels’ at Marc Straus Gallery

Seated figures and seats themselves comprise the surprisingly engaging theme of Marc Straus Gallery’s summer group show, which includes Red Grooms’ 1974-5 ‘The Minister of Transportation.’  Long arms languidly crossed and propped up on a skinny knee, the art-deco styled ‘minister’ offers a small case of cigarettes as he puffs away himself atop a parade float featuring images of vehicles on the ground, in the sky and on the water.  (On view on the Lower East Side through July 28th).

Red Grooms, detail of The Minister of Transportation, mixed media, 53 x 38 x 68 inches, 1974-75.

Jonathan Trayte at Friedman Benda

Art & design merge in British artist Jonathan Trayte’s otherworldly habitat at Friedman Benda, where a chaise longue doubles as a lamp and a pink bedframe made out of pipes questions the use-value of sculpture.  Here, an irresistible painted bronze, steel, foam and neon sculpture titled Kandi defies explanation while enticing with its organic forms and pink glow. (On view in Chelsea through July 27th).

Jonathan Trayte, Kandi, painted bronze, stainless steel, foam, polymer plaster, pigments, adhesive, nylon flock, neon, 42.5 x 43.25 x 13.75 inches, 2018.

Chie Fueki in ‘Zig Zag Zig’ at DC Moore Gallery

The world fractures into patterns and planes in Chie Fueki’s energetic rendition of a redhead (painter Ellen Altfest) on her bike, a standout in DC Moore Gallery’s excellent summer exhibition.  In other works by Fueki in the show, women take the wheel in futuristic vehicles that traverse otherworldly landscapes.  (On view in Chelsea through August 10th.)

Chie Fueki, Ellen, acrylic, ink and colored pencil on mulberry paper on wood, 60 x 72 inches, 2017.

Fu Xiaotong at Chambers Fine Art

Without putting pencil or brush to paper, Beijing-based artist Fu Xiaotong created this enigmatic cityscape, seen as if in a fog or snowstorm.  Created entirely by piercing a thick piece of paper with a needle, the scene’s suggestion of nature (even in the built environment) is appropriate, given Fu’s signature subject matter of mountains, water and other organic elements.  (On view at Chambers Fine Art in Chelsea through August 17th).

Fu Xiaotong, detail of 473,000 Pinpricks 473,000, handmade paper, 64 ¾ x 78 ¾ inches, 2017.

Alice Beasley in ‘In Her Hands’ at Robert Mann Gallery

Congresswoman Barbara Lee literally opens her hands to the issues that matter to her constituents in this quilted artwork by Bay Area artist Alice Beasley.  Beasley’s tribute is a standout in Robert Mann Gallery’s summer group show ‘In Her Hands’ (curated by Orly Cogan and Julie Peppito), an exhibition that celebrates female political leaders.  (On view in Chelsea through August 17th).

Alice Beasley, Barbara Lee Speaks for Me, cotton and silk fabrics, machine appliqued, 62.5 x 41 inches, 2018.

Peter Schenck at Freight and Volume

“Stand-up comedy and painting are both performative acts,” explains Brooklyn painter Peter Schenck, who has first-hand-experience of both.  Titling his latest show at Freight and Volume ‘Comedy Cellar,’ after the West Village club, Schenck creates colorful but tense scenarios in which various characters must make good under the spotlight.  Here, a wide-eyed, robed painter grins wildly next to a giant scull and floating paint brushes.  (On view on the Lower East Side through July 8th).

Peter Schenck, Down in the Cellar, acrylic, charcoal, oil on canvas, 54 x 54 inches, 2017 – 2018.

Jana Paleckova at Edward Thorp Gallery

Self-taught Czech artist Jana Paleckova’s endlessly inventive paintings on original vintage photos reimagine the past in humorous and surreal ways.  The apparent awkwardness of these boys and their wary-looking adult takes on new meaning, given the gormless looking cyclops in their ranks. (On view through August 3rd at Edward Thorp Gallery in Chelsea).

Jana Paleckova, untitled (man, boys and furry cyclops,) oil paint on vintage photograph, 7h x 9w inches, 2017.

Luke Murphy at Canada New York

A campfire made of LED matrix panels, a slightly misshapen monolith in cool blue light and this glowing quilt with changing patterns are standouts in computer programmer/ artist Luke Murphy’s latest show at Canada NY.  Here, both subject matter and execution exude homey charm.  (On view on the Lower East Side through July 15th).

LogCabin Quilt, 62 x 41 x 5 inches, 2018.

Sheila Hicks Installation at Sikkema Jenkins

Known for large-scale installations of hanging, twisting and looping fibers, Sheila Hicks favors rich, 2-D color-fields in her latest solo show at Sikkema Jenkins & Co.  As seen in this detail, Hicks combined several panels wrapped in individual strands of linen floss to create harmonies that speak to a lifetime of absorbing and rethinking textiles from around the world.  (On view through July 6th).

Sheila Hicks, installation detail at Sikkema Jenkins & Co., June 2018.

Tim Gardner at 303 Gallery

British Columbia based artist Tim Gardner revisits his college-day haunts in vibrant, precise watercolors of a surprisingly tranquil New York, now on view at 303 Gallery.  A Statue of Liberty with stars brightly shining above (light pollution magically banished), a quiet (!) High Line park and a subway station with a train arriving are magical moments.  This bike messenger (actually waiting at a light?) helps interpret the scale of the pleasingly symmetrical terracotta-colored building framing the scene.  (On view in Chelsea through July 13th).

Tim Gardner, Bike Messenger, watercolor on paper, 16 x 12 inches, 2018.

Joseph Zito with Gary Mayer at Lennon Weinberg Gallery

Brooklyn-based artist Joseph Zito’s forays into beekeeping inspired his recent series of hives, created in tandem with artist friends and currently on display at Lennon Weinberg Gallery in Chelsea.  Here, painter Gary Mayer’s energetically painted box issues a warning, portraying a cluster of frenetic bees in a paradise of flowers on one side and dead bees experiencing colony collapse on the other.  (On view through August 17th).

Joseph Zito with Gary Mayer, Lamentation, 22 ½ x 22 x 13 3/4 inches, 2018.

Michal Rovner at Pace Gallery

Lines of moving silhouettes endlessly crisscross rugged terrain in ‘Blue Hills,’ an arresting video at the entrance to Michal Rovner’s latest solo show at Pace Gallery.  Suggesting constant migration across inhospitable land, the piece’s calm colors belie more overt alarm in several of the show’s other works, in which bodies with flashing red lights for heads or constantly waving arms sound a warning.  Reflecting on the role of technology in our daily lives, Rovner muses that we are becoming ‘bar codes with DNA.’  (On view at Pace Gallery’s 25th Street location through June 29th).

Michal Rovner, Blue Hills, LCD screen and video, 57 1/8 x 32 5/8 x 3 3/8 inches, 2018.

Damien Hirst at Gagosian Gallery

If you thought Damien Hirst could possibly be done with painting dots, think again. Gagosian Gallery’s cavernous space is filled with new dot paintings, freed from their usual grid format and now swirling across the canvas.  (On view in Chelsea through June 30th).

Damien Hirst, detail from ‘Colour Space Paintings’ at Gagosian Gallery, 555 West 24th Street, through June 30th.

Matthew Stone at The Hole NYC

British artist Matthew Stone’s stunning merger of virtual and real (as played out on canvas) was a standout in The Hole NYC’s past ‘Post Analogue Painting’ shows, in which artists demonstrated how digital tools have altered the way they conceive of painting’s possibilities.  In his latest work, Stone introduces a maelstrom of bodies, half-formed by a vocabulary of brushstrokes that he first paints on glass, photographs, then digitally models into not-quite-classic nudes.  (On view on the Lower East Side through June 24th).

Matthew Stone, detail of Neophyte (St John’s Wort), digital print on linen, 63 x 98.4 inches, 2018.

Nick Cave, Tondo at Jack Shainman Gallery

Nick Cave’s mixed media sculptures at Jack Shainman Gallery look like soft, dyed fur, but the reality is more somber.  Patterns painted on short, sharp wires portray what the gallery reveals is a “…layered mapping of cataclysmic weather patterns superimposed onto brain scans of black youth suffering from PTSD as a result of gun violence.”  (On view on 20th Street in Chelsea through June 23rd).

Nick Cave, Tondo, mixed media including wire, bugle beads, sequined fabric and wood, 96 inches diameter, 2018.

Jenny Saville at Gagosian Gallery

The most provocative – and political – of British painter Jenny Saville’s recent canvases remake traditional Christian pieta imagery in a way that both modernizes it and suggests timelessness.  In this striking piece titled ‘Byzantium,’ Mary is replaced by a figure recalling an ancient Greek striding youth – a kouros – while her dead son’s reclining body is transparent, as if real flesh gave way to a Gray’s anatomy diagram.  Elsewhere in the show, a male parent cradles a lifeless child with a modern war-ravaged city in the background.  As the heads in both images overlap heads and feet reappear many times, Saville seems to suggest that history repeats itself with dire consequences.  (On view at Gagosian Gallery’s 21st Street Chelsea location through July 20th).

Jenny Saville, Byzantium, oil on canvas, 76 ½ x 94 1/8 inches, 2018.

Charles Ray, The Repair Annex at Matthew Marks

In a gallery titled ‘the repair annex,’ two new sculptures by Charles Ray depict mechanics absorbed in their work.  A man squats in a pose reminiscent of Ray’s own kneeling self-portrait from a few years back but also suggesting supplication or rapt attention to a task.  Ray’s meticulous renderings, here in painted steel, can take years to realize and the attention to detail and smooth finish give the piece an elegance and preciousness that connect this subject less to an autobody shop and more to an art history of heroic bodies.  (On view at Matthew Marks Gallery‘s 526 West 22nd Street location in Chelsea through June 16th).

Charles Ray, Mechanic 1 and Mechanic 2 (detail), painted steel, mechanic 2: 21 x 14 ½ x 18 ¾ inches, 2018.

Delia Brown at Tibor de Nagy

Nodding to the title of Picasso’s carefully posed 1907 bevy of red-light district workers, ‘Demoiselle D’Avignon,’ Delia Brown’s exhibition ‘Demoiselle d’Instagram’ is a hilarious, tongue-in-cheek take on today’s social media self-styling.  Departing radically from her signature realist style, Brown surrounds her subjects in shimmering halos of energy, perhaps emitted from the phones that absorb the attention of each woman.  Meanwhile, baby seals float through the air – their plight ignored by self-absorbed humans. (On view at Tibor de Nagy on the Lower East Side through June 17th).

Delia Brown, mountain, red arrow and tree emojis, oil on canvas, 74 x 60 inches, 2018.

Marianne Vitale, Skull at Invisible Exports

Marianne Vitale gives new meaning to life on the rails with her repurposed railway tracks as minimalist sculpture, steel junctions as totemic figures and now, a train engine housing resembling a gas-masked ghoul.  Part of an exhibition that includes stacks of metal flangeway blocks that recall indecipherable letter shapes, Vitale’s art is anthropology – a search through remnants of a recently bygone era for clues to life in the not-so-distant past.  (On view at Invisible Exports on the Lower East Side through June 24th).

Marianne Vitale, Skull, repurposed train engine parts, 49 x 42 x 8 inches, 2018.

Yun-Fei Ji at James Cohan Gallery

Amid lush landscapes, bundles of household goods and furniture await removal in Yun-Fei Ji’s watercolor paintings of rural China.  As the government relocates huge numbers of country-dwellers to urban areas, the artist zeros in on individuals and their belongings in the process of being uprooted.  (On view at James Cohan Gallery’s Lower East Side location through June 16th).

Yun-Fei Ji, detail of The Family Belongings, watercolor and ink on Yuan paper mounted on silk, 15 ½ x 26 ¼ (unframed), 2011.

Sanle Sory at Yossi Milo Gallery

Fatoumata shows off a new braided hairstyle in this portrait by Burkina Faso photographer Sanle Sory, whose photo studio attracted the young and fashionable of Bobo-Dioulasso for decades after opening in 1960.  In dozens of images taken from the 60s to the 80s, now on view at Yossi Milo Gallery in Chelsea, Sory captures the lively self-styling of the country’s youth post-independence, calling photography ‘a witness to everything, a kind of proof of life.’ (On view through June 23rd).

Sanle Sory, Fatoumata nouvellement tressee, gelatin silver print, paper : 20 x 16 inches, 1978.

Cayce Zavaglia, Hudson at Lyons Wier

Cayce Zavaglia pushes realism into new territory in her stunningly deft embroidered portraits of friends and family.  Long stitches become smooth lengths of hair while tiny dense ones create the interplay of light and color on skin.  Here, Hudson’s youthful face and textured plaid shirt stand out against an electric, lime-colored background.  (On view in Chelsea at Lyons Wier Gallery through June 2nd).

Cayce Zavaglia, Hudson, hand embroidery: crewel wool on Belgian linen with acrylic background, 15.5 x 13.25 inches, 2017.

Mernet Larsen at James Cohan Gallery

Perspective is unmoored in Mernet Larsen’s discombobulating scene of a high-level government meeting. The sense of disorientation suits an array of stiff, featureless leaders who with their flat physiques look as if they might go in whichever direction the wind blows. (On view at James Cohan Gallery’s Chelsea location through June 16th).

Mernet Larsen, Cabinet Meeting, acrylic and mixed media on canvas, 61 x 65 ¼ inches, 2017.

Huang Yong Ping Sculpture at Barbara Gladstone

What Huang Yong Ping’s ‘Bank of Sand, Sand of Bank’ lacks in subtlety it makes up for in presence, filling Barbara Gladstone Gallery’s 21st Street Chelsea location with 20 tons of sand and concrete molded to resemble the former HSBC Bank in Shanghai.  Once a symbol of opulence, here an omen of potential economic collapse, the hulking neoclassical building was used as a government building after the Chinese revolution and has since been adopted as home by the Pudong Development Bank.  (On view through June 9th).

Huang Yong Ping, installation view of ‘Bank of Sand, Sand of Bank’ at Gladstone Gallery, May 2018.

Sarah Peters at Van Doren Waxter

Sarah Peters takes her stylized bronze head sculptures to a newly disquieting level in her current exhibition at Van Doren Waxter on the Lower East Side.  Riffing on Greek dramatic masks, ancient Assyrian or Akkadian heads, and sex dolls, figures heads like this one embody ziggurat-like architectural form, as if place and priestess had merged into one haunting figure.  (On view on the Lower East Side through June 2nd).

Sarah Peters, Floating Head, bronze, 11 x 19 x 9 inches, 2016.

Ursula von Rydingsvard, Oziksien at Galerie Lelong

Sculptor Ursula von Rydingsvard describes this wall mounted cedar relief sculpture as beginning ‘gently then growing belligerent’ as its rows of cavities expand and lose their form closer to the floor.  On the flip side of aggressive, the carved wood forms are characterized by a softness that suggests disintegration.  Rising, falling and sliding along the wall, this sculpture’s shapes appear to be in constant motion.  (On view at Galerie Lelong in Chelsea through June 23rd).

Ursula von Rydingsvard, Oziksien, cedar, 145 x 123 x 30 inches, 2016.

Takashi Murakami at Perrotin

It can be easy to focus on the bright, pop side of Takashi Murakami’s production, even as his cute, anime-inspired characters sprout fangs.  His current solo show on all three floors of Perrotin’s Lower East Side gallery continues to probe darker sides of life (a strain in his work that’s grown since Japan’s 2011 tsunami and earthquake) by engaging with select paintings by Francis Bacon.  Here, Bacon’s famous painting of rival and friend Lucian Freud is springboard for Murakami’s own alternative characters – multi-eyed alien creatures that suggest humor and menace in equal measure.  (On view through June 17th).

Takashi Murakami, Untitled, acrylic, gold and platinum leaf on canvas mounted on aluminum frame, h: 197.8 x l: 147.5 cm (each), 2018.

Mayumi Lake at Miyako Yoshinaga Gallery

Using patterns scanned and printed from her collection of vintage kimonos, Chicago-based artist Mayumi Lake creates floral abstractions – adding a fringe of beads and other elements – that mix tradition and contemporary life.  Designed to resemble huge flowers that might decorate a sacred place, the blooms grow in size and color in proportion to life’s difficulties.  (On view at Miyako Yoshinaga Gallery in Chelsea through May 25th).

Mayumi Lake, Unison (Orgel-Merry), pigment print, imitation gold leaf, plastic, wire and wood, 43 x 33 inches, 2017.

Keyezua, Fortia at Steven Kasher Gallery

Angolan artist Keyezua’s ‘Fortia’ series (translated as ‘Strength’) features female figures in handmade masks and dramatic red gowns posing in an eroded landscape outside Luanda.  Citing her father’s disability and early death, the artist aims to explore how her own identity developed as a young woman experiencing loss.  (In ‘Refraction:  New Photography of Africa and its Diaspora’ at Steven Kasher Gallery in Chelsea through June 2nd).

Keyezua, Fortia (1), giclée print on Hanhemuhle paper, printed 2018, 35 ½ x 23 ¾ in, 2017.

Inka Essenhigh at Miles McEnery Gallery

A Christmas cactus tangos with a dramatically dark black tulip in the foreground of Inka Essenhigh’s ‘Party of the Flames and Flowers,’ a standout painting in the artist’s solo show at Miles McEnery Gallery in Chelsea.  Personified flowers compete to show off their beauty in an intriguing venue that mysteriously appears to be undersea. (On view through May 25th).

Inka Essenhigh, Party of the Flames and Flowers, enamel on canvas, 48 x 55 inches, 2017.

Beryl Korot at Bitforms

This 1980 painting on hand-woven linen by video art pioneer Beryl Korot (seen in detail) demonstrates the language she devised, based on the grid of woven cloth.  The text is based on the account of the Tower of Babel in Genesis, an account in which language fragments.  For Korot, Babel offers a chance to consider the ways that language and technology relate to human behavior.  (On view at Bitforms through May 20th).

Beryl Korot, detail of Babel 2, acrylic on hand-woven linen, 72 x 38.75 inches, 1980.

Tomas Saraceno at Tanya Bonkdar Gallery

Mylar, balloon-shaped sculptures are the centerpiece of Tomas Saraceno’s stunning ‘Solar Rhythms’ exhibition at Tanya Bonakdar Gallery in Chelsea – a show that envisions fossil fuel free flight via balloon.  Reflected light decorates the gallery in ethereal patterns that connect our earthly realm to the wonderous possibilities of life in the air. (On view through June 9th).

Tomas Saraceno, installation view of ‘Solar Rhythms’ at Tanya Bonakdar Gallery, April 2018.

David Hockney, Garrowby Hill at Pace Gallery

When it comes to perspective in his paintings, David Hockney famously takes the road less traveled by adopting multiple viewpoints in one image.  In this vibrantly colored painting of Garrowby Hill in Yorkshire, on view at Pace Gallery through the weekend, Hockney eliminates the corners of his canvas, introducing a technique that guides viewers on an enticingly colorful and quirky journey into an expanding landscape.  (On view at Pace Gallery’s 25th Street Chelsea location through May 12th).

David Hockney, Garrowby Hill, oil on canvas, 2017.

Hank Willis Thomas, Strike at Jack Shainman Gallery

Inspired by Louis Lozowick’s 1935 ‘Strike Scene’ lithograph, Hank Willis Thomas’s stainless steel ‘Strike’ is a powerful symbol of resistance.  A highlight of the artist’s latest two-gallery solo show at Jack Shainman Gallery, the sculpture presents a fragment of a scenario that speaks to a broader history of struggle. (On view in Chelsea through May 12th).

Hank Willis Thomas, Strike, stainless steel with mirrored finish, approx. 33 x 33 x 9 inches, 2018.

Marcus Weber at Thomas Erben Gallery

A paper floats into the frame of a Krazy Kat cartoon, and Krazy questions the ‘kwee mokks’ all over it.  This scenario captivates one of Marcus Weber’s oddball characters, who are themselves unexpected and unexplained.  Though their unibrows suggest an adult seriousness, they avidly read the funnies, positioning their identity somewhere between adult and kid and tantalizingly out of reach.  (At Thomas Erben Gallery in Chelsea through May 19th).

Marcus Weber, KWEE MOKKS, acrylic on cotton, 79 x 77 inches, 2018.

Theo A. Rosenblum in ‘Clay Today’ at The Hole NYC

Ceramics get comic and weird in The Hole NYC’s sprawling exhibition of art made from clay.  Theo A. Rosenblum’s ‘King Carrot’ grins enthusiastically in the main gallery, setting the tone for a show that includes Alice Mackler’s amorphous female figures, a delinquent Bart Simpson portrait by FriendsWithYou and much, much more.  (On view on the Lower East Side through May 6th).

Theo A. Rosenblum, King Carrot, epoxy clay over wood and foam, acrylic paint, 52 x 38 x 38 inches, 2010.

Pamela Jorden at Klaus von Nichtssagend Gallery

Using acrylic, oil and bleach on linen, LA painter Pamela Jorden combines the colors of day and night in a dramatic tondo that draws us into summery pink, yellow and blue zones while actively repelling our approach in angular dark areas.  Drawing her painterly vocabulary from the history of abstraction, Jorden aims to rethink landscape, referencing varied sources, from J.M.W. Turner to tide pools. (On view at Klaus von Nichtssagend Gallery on the Lower East Side through May 6th).

Pamela Jorden, Leadlight, acrylic, oil and bleach on linen, 48 inches in diameter, 2018.

Will Cotton in ‘Paper/Print’ at the International Print Center

Will Cotton’s paintings of models and confectionery merge erotic desire and the temptation of sweets; here, sugar wins out as a tower of cake takes center stage at the International Print Center in Chelsea.  If this looks like a sculpture that won’t age well, don’t be fooled; this indulgent stack of goodies is made of handmade paper – a standout in the Print Center’s show of American hand paper-making since the 60s.

Will Cotton, The Pleasure Principle 2, cast pigmented handmade paper, published by Pace Editions, Inc, papermakers: Ruth Lingen, Akemi Martin and Emily Chaplain, 2014.

Letha Wilson at GRIMM

A lone palm stands peaceful and unmolested above the collision of man-made material and nature photography that is Letha Wilson’s ‘Steel Face Concrete Bend (Kauai Palm)’ at GRIMM on the Lower East Side.  Inside a steel frame, concrete printed with a landscape photo abuts an actual photographic print as man and nature messily come into contact.  (On view through April 22nd ).

Letha Wilson, Steel Face Concrete Bend (Kauai Palm), unique c-prints, concrete, emulsion transfer, steel frame, 38 x 32 x 1 ½ inches, 2018.

Barbara Hepworth at Pace Gallery

The human figure emerges gracefully from marble, bronze and wood in Pace Gallery’s major exhibition of Barbara Hepworth’s sculpture from the 30s to the 70s.  In the foreground, ‘One, Two, Three (Vertical)’ from 1974 frames this view of towering sculpture from Hepworth’s totemic Family of Man series – an ‘Ancestor’ on the left and ‘Bridegroom’ in the back.  (On view in Chelsea through April 21st).

Installation view of Barbara Hepworth at Pace Gallery’s 537 West 24th Street location, March 2018.

Teresita Fernandez in ‘American Landscape’ at Lehmann Maupin Gallery

Teresita Fernandez’s show last spring at Lehmann Maupin featured an American landscape constructed of charcoal, maps burned into paper and a ceramic wall panel featuring raging flames. Currently on view on Chelsea, ‘Fire (United States of America),’ forcefully continues Fernandez’s consideration of the US landscape as contentious and combustible. (On view in Chelsea through May 5th).

Teresita Fernandez, Fire (United States of the Americas), charcoal, 57 parts, 158 x 175.75 x 1.25 inches (approx.), 2017.

Sam Moyer in ‘Painting/Object’ at FLAG Art Foundation

The title of Sam Moyer’s ‘Spencertown’ (seen here in detail) refers to the New York town where iconic painter Ellsworth Kelly lived and worked before his death in 2015.  Bold geometric shapes – constructed of marble and painted canvas – also hint at a fascination with Kelly’s practice of reducing real-world objects and scenes to an abstract language. Here, Moyer pushes the idea a step further by incorporating actual fragments of the 3-D world in her artwork.  (At FLAG Art Foundation in Chelsea through May 19th).

Sam Moyer, detail of Spencertown, stone, marble, hand-painted canvas mounted to MDF panel, 56 x 42 5/16 inches, 2018.

XU ZHEN, Eternity at James Cohan Gallery

Ancient and 20th century, Chinese and European cultural heritage come into direct contact in XU ZHEN’s sculpture of a Tang Dynasty warrior holding Brancusi’s ‘Sleeping Muse.’  Currently part of an exhibition at James Cohan Gallery that has transformed the exhibition space into a garden with walking paths that replicate protest marches, the piece aims to provoke conversation on many levels.  (On view on the Lower East Side through April 22nd).

XU ZHEN, Eternity-Painted Terracotta Statue of Heavenly Guardian, Sleeping Muse, bronze, mineral composites, mineral pigments, steel, 79 1/8 x 33 5/8 x 17 5/8, 2016.

Barnaby Furnas, The Quartet at Marianne Boesky

In his latest show at Marianne Boesky Gallery, Barnaby Furnas morphs Grant Woods’ iconic American Gothic (now on view at the Whitney) into an eerie portrait of pitchfork-clutching quadruplet sisters defined by their flatness and conformity.  Other paintings feature charging bison and Mt Rushmore, summoning iconic ‘American’ imagery to question what that means now.  Even Furnas’ new experiments in painting technique – he has worked with the research group ARTMATR to digitally replicate his labor-intensive paint application techniques – align with the sense that these robotic characters lack a human element.  (On view in Chelsea through April 14th).

Barnaby Furnas, The Quartet, dispersed pigments, acrylic, colored pencil, pencil on linen, 51 x 38 ½ inches, 2018.

Francesca DiMattio, Boucherouite at Salon94 Bowery

How would a rag rug inspire a ceramic sculpture?  Francesca DiMattio’s huge porcelain and stoneware sculptures mimic the shaggy surface of a Moroccan boucherouite rug, a technique aided by her use of a garlic press to extrude clay.  Mixing references to art history and decorative arts, DiMattio’s new work is a riotous assertion of history’s continued presence in today’s art and design.  (On view on the Lower East Side at Salon94 Bowery through April 21st).

Francesca DiMattio, installation view of ‘Boucherouite’ at Salon94 Bowery, March 2018.

Erik Parker at Mary Boone Gallery

Rock climbers at sunset, a windswept beach and a wildly colored tropical lagoon are literally on the mind of this character by Erik Parker at Mary Boone Gallery.  Experienced or received notions of the world literally construct identity in this psychedelic portrait. (On view in Chelsea through April 21st).

Erik Parker, Good Vibrations, acrylic, collage/canvas, 84 x 72 inches, 2018.

Marsha Cottrell at Van Doren Waxter

Though abstract, Marsha Cottrell’s ‘Environments’ series suggest aerial views of a cityscape or a tangram puzzle.  Printed layer over layer with variations in each printing, the image appears to be shrinking away from us in space while blocking an intriguing portal.  (On view through April 21st at Van Doren Waxter on the Lower East Side).

Marsha Cottrell, Environments_5, laser toner on paper, unique, 11 x 8.5 inches, 2017.

Jean-Michel Othoniel at Perrotin

Citing Alexander Calder’s mobiles and Felix Gonzalez-Torres’ beaded sculptures as touch-points, Jean-Michel Othoniel presents ‘black tornados’ at Perrotin on the Lower East Side.  Made of aluminium beads threaded onto a steel armature, the glittering twisters reflect light and suggest movement while presenting natural phenomenon as glamorous ornament.  (On view on the Lower East Side through April 15th).

Jean-Michel Othoniel, installation view of ‘Dark Matters’ at Perrotin, March 2018.

Karin Sander at Carolina Nitsch

Known for her 3-D printed human figures, Karin Sander’s ‘Kitchen Pieces’ first offer a puzzle – is the fruit real or meticulously made?  Sander isn’t beating Zeuxis, the ancient Greek artist who painted grapes so believably that the birds tried to eat them.  The grapes and other fruit and veg attached to the wall with specially made nails are real.  The process of searching for evidence of this –which is surprisingly difficult to discern – is the takeaway. (On view at Carolina Nitsch through April.)

Karin Sander, Grapes, grapes, stainless steel nail, dimensions variable, with signed certificate housed in a custom box, 2012/18.

Claudia Wieser, Chapter at Marianne Boesky

Berlin-based artist Claudia Wieser takes the 1976 BBC drama ‘I, Claudius’ as inspiration for a gorgeous exhibition featuring wallpaper printed with towering busts from antiquity and a series of refined painted vessels atop a large ceramic tiled pedestal.  Rather than tell a story or suggest particular meanings, Wieser evokes elegance and opulence using low-brow materials like wood and mirror-polished steel, perhaps a parallel to politically corrupt Roman rulers whose culture non-the-less produced prized artwork.  (On view at Marianne Boesky Gallery in Chelsea through April 14th).

Claudia Wieser, installation view of ‘Chapter’ at Marianne Boesky Gallery, March 2018.

Stan Douglas, Jewels at David Zwirner Gallery

A faintly reflected man in a white shirt and tie looks on while a hand fondles jewels in the window of a looted shop in photographer Stan Douglas’ careful staging of a hypothetical New York City blackout.  Strangely calm, the scene suggests looting as leisure activity and – given the man’s gaze – as potential romantic encounter.  (On view at David Zwirner Gallery’s 525 West 19th Street location through April 7th).

Stan Douglas, Jewels, digital chromogenic print mounted on Dibond aluminum, 36 x 36 inches, 2017.

Thomas Demand, Daily #30 at Matthew Marks

Thomas Demand’s meticulous paper sculptures from his ‘Dailies’ series pay homage to ordinary objects that were encountered, considered extraordinary for a moment, photographed, then forgotten.  After reconstructing a scene shot on his phone as a paper sculpture, Demand prints the image as a vivid dye transfer print.  Positioned on Demand’s wall of anonymous lockers, the banal becomes something wondrous again. (On view in Chelsea at Matthew Marks Gallery through April 7th). 

Thomas Demand, Daily #30, framed dye transfer print, 26 ½ x 21 ½ inches, 2017 over Locker, UV print on nonwoven wallpaper, dimensions variable, 2017.

Kay Rosen at Alexander Gray Associates

Often political, never shy, Kay Rosen’s text-based wall art is bold and outspoken at Alexander Gray Associates.  Just four letters speak volumes in this installation titled ‘White House v. America.’  (On view in Chelsea through April 7th). 

Kay Rosen, White House v. America, paint on wall, dimensions variable, 2018.

Sarah Blesener at Anastasia Photo

After a stint photographing patriotic camps and schools in Russia, US photojournalist Sarah Blesener turned her focus to schools like the Utah Patriot Camp, a short summer camp in Utah that aims to help kids memorize the articles of the Constitution, the Bill of Rights and more.  Blesener’s goal – to invite conversation about nationalism vs patriotism – makes for a timely and provocative body of work.  (On view at Anastasia Photo on the Lower East Side through April 1st). 

Sarah Blesener, photo taken at Utah Patriot Camp, Herriman, Utah, 2017-18.

Maria Nepomuceno at Sikkema Jenkins & Co

A superabundance of color and curving forms characterize Brazilian artist Maria Nepomuceno’s ‘imaginary nature,’ as she calls her sculpture composed of woven straw, beads, ceramics and resin forms.  With direct links to the human body – beads are cells, straw references skin – the artist’s life affirming constructions celebrate nature in its eye-popping variety. (On view at Sikkema Jenkins and Co in Chelsea through April 7th). 

Maria Nepomuceno, 3 mulheres, beads, braided straw, ropes, ceramics, clay, resin and wood, 180 x 150 x 90 cm, 2017.

Zhang Enli at Hauser & Wirth

Though they conjure Monet’s quiet gardens at Giverny, Zhang Enli’s new abstract canvases were inspired by Shanghai’s greenery.  Known for representational paintings of everyday objects that twist and turn – cord, branches, wire – and immersive painted installations, Zhang’s new work continues to suggest movement.  (On view at Hauser & Wirth through April 7th). 

Zhang Enli, The Monochrome. Night (2), oil on canvas, 98 ¼ x 117 ½ inches, 2017.

Mimi Lauter at Derek Eller Gallery

Titled ‘Devotional Flowers,’ Mimi Lauter’s show of soft pastel and oil pastel blooms at Derek Eller Gallery suggests mystical experience as a sunflower morphs into a blazing sun and landscape.  Critics have praised the young LA artist’s work as ‘enthralling’ and ‘rapturous.’  Today and tomorrow are the final days to test for yourself the transcendent power of Lauter’s petals. (On view on the Lower East Side through March 18th).

Mimi Lauter, Untitled, gouache, watercolor, soft pastel and oil pastel on paper, 11.5 x 8 inches, 2018.

Carrie Moyer, Jolly Hydra at DC Moore

Pleasure is the driving factor in Carrie Moyer’s eye-popping new work at DC Moore Gallery in Chelsea.  Here, ‘Jolly Hydra:  Unexplainably Juicy’ suggests the multi-headed hydra of Greek mythology as it encounters blocks and washes of bubble gum-bright color and sensually curving bodily forms.  (On view through March 22nd).

Carrie Moyer, Jolly Hydra: Unexplainably Juicy, acrylic on canvas, 2017.

Jeffrey Milstein at Benrubi Gallery

Peering down from chartered planes and helicopters, photographer Jeffrey Milstein sees the world from an ordering distance. Here, a container ship moves ahead with tugs in its wake.  Like Milstein’s aerial photos of cities and transportation networks, his nautical views turn monumental manmade objects into a creative play of color and form.  (On view at Benrubi Gallery through March 17th).

Jeffrey Milstein, Container Ship and Tugs 2, archival pigment print, 52 ½ x 70 inches, 2017.

Chris Oh at Sargent’s Daughters

Vignettes repainted by Chris Oh from a highly detailed early northern Renaissance painting transcribe a scene of veneration onto a soccer ball.  In the original 15th century painting, St Anthony honors the Christ child.  Here, he appears like an apparition on another object of worship.  (On view on the Lower East Side at Sargent’s Daughters through March 11th).

Chris Oh, Vertex, acrylic on soccer ball, 6.5 x 6.5 x 6.5 inches, 2018.

Marjan Teeuwen at Bruce Silverstein Gallery

Working with materials salvaged from destroyed buildings, Dutch artist Marjan Teeuwen creates abstract arrangements of forms that suggest paintings.  Here, she worked in an abandoned school in Johannesburg, South Africa during a 2015 residency to create an installation that speaks to a key theme – the inevitability of destruction and but also the hope of renewal.  (On view through April 14th at Bruce Silverstein Gallery in Chelsea.)

Marjan Teeuwen, Archive Johannesburg, archival pigment print, 38 x 43 inches, 2015.

Lesley Dill at Nohra Haime Gallery

Lesley Dill describes Emily Dickinson’s poems as having a physical effect on her as she experienced ‘an ocean of images’ while reading.  Similarly, Dill’s series of sculptural characters now on view at Nohra Haime Gallery in Chelsea are covered and overpowered by their own words.  The show includes figures like John Brown and Sojourner Truth – who were driven by powerful experiences of the spiritual world. (On view in Chelsea through March 17th).

Lesley Dill, [foreground] Northern Blast (Edward Taylor), oil stick, ink, thread on fabric, wooden shoe lasts, 100 x 23 x 1 inches, 2017 and [background] Omnipotence Enough (Emily Dickinson), oil stick on fabric, 95.5 x 22 x 1 inches, 2017.

Gao Rong at Klein Sun Gallery

Gao Rong’s meticulously crafted and embroidered pay phone replicates the chips and scratches of a once-shiny public pay phone.  As the importance of the payphone diminishes in the face of cell phone usage, Gao Rong’s 2012 sculpture lovingly preserves its memory in cloth, foam and wood.  (On view at Klein Sun Gallery through March 11th).

Gao Rong, Call No. 1, sponge, cloth, thread, wooden board, 18 7/8 x 11 x 7 7/8 inches, 2012.

Benjamin Degen, Night Move at Susan Inglett Gallery

Naked feet running along the shore at night in this painting by Benjamin Degen at Susan Inglett Gallery could belong to cavorting friends or fleeing migrants.  The lack of distinction is the point; Degen created his latest paintings “…in celebration of human movement” and in favor of choosing liberation over self-destruction.  (On view in Chelsea through March 10th).

Benjamin Degen, Night Move, oil and spray enamel on canvas, 60 x 84 inches, 2018.

Danielle Orchard at Jack Hanley Gallery

Bodies threaten to dissolve into abstract forms in intriguing new paintings of women by young Brooklyn-based artist Danielle Orchard at Jack Hanley Gallery.  Here, a coy figure either hides behind a flower or is about to take it in hand as a microphone.  (On the Lower East Side through March 11th).

Danielle Orchard, Girl with Tulip, oil on canvas, 36 x 24 inches, 2017.

Dave McDermott at GRIMM

Inspired by Robert Altman’s 1973 film ‘The Long Goodbye,’ Dave McDermott latest paintings consider the private investigator/protagonist who mucks through complicated and broken lives to do his job. This saucer-eyed cat – made of swirls of blue and red yarn lined up over hot pink paint – bears witness to humanity’s flaws.  (On view at GRIMM on the Lower East Side through March 11th.)

Dave McDermott, Borrowed Tune for Marlowe (Armleder’s Cat), yarn, oil, oilstick, canvas on panel, 75 x 63 x 2 inches, 2018.

Thornton Dial at David Lewis Gallery

Thornton Dial included an image of himself, banging a pan to bring people together to start a meal in the upper portion of this riff on William Merritt Chase’s Still Life with Watermelon.  As seen in this detail of a larger painting, he included a second real frying pan filled with paintings of eggs positioned near lusciously colored fruits, suggesting the bounty that an artist can provide.  (At David Lewis Gallery on the Lower East Side through March 18th).

Thornton Dial, detail of Setting the Table, shoes, gloves, bedding, beaded car-seat cover, cloth carpet, artificial flowers, crushed paint cans, found metal, frying pan, cooking utensils, chain, wood, Splash Zone compound, oil and enamel on canvas on wood, 74 x 74.5 x 8 inches, 2003.

Women’s History Museum at Gavin Brown’s Enterprise

Designers Amanda McGowan and Mattie Rivkah Barringer, who create garments under the name Women’s History Museum, explore a barely-there aesthetic partly inspired by their experience of tiny, ‘almost unintelligible’ Instagram images of clothing.  Though this outfit looks like it may be worn by a fashion-conscious desert island cast-away, the mannequin’s position before a faux-cottage suggests a whimsical escapee from a fairy-tale.  (On view at Gavin Brown’s Enterprise on the Lower East Side through February 25th).

Installation view of ‘Women’s History Museum’ (Amanda McGowan and Mattie Rivkah Barringer) at Gavin Brown’s Enterprise, Feb 2018.

Leonardo Drew in ‘The Onrush of Scenery’ at Sikkema Jenkins & Co.

Though it resembles an oversized segment of wall and molding, Leonardo Drew’s ‘Number 201’ is a standout in Sikkema Jenkins & Co’s current nature-focused show.  Using materials originally derived from nature and often used in building, Drew’s construction marries nature and culture in enticing forms.  (On view in Chelsea through Feb 24th).

Leonardo Drew, Number 201, wood, plaster and paint, 24.5 x 25.5 x 17.25 inches, 2017.

Kim Dingle at Sperone Westwater Gallery

After complaining that she could paint her signature subject matter – little girls behaving badly – blindfolded, that’s just what Kim Dingle did to create the work in her recent series.  Using her hand as a guide, Dingle maps out characters like these from memory in oil on Plexiglas.  Here, two slightly sinister looking girls, drawn with fluidity and proportions reminiscent of Mickey Mouse, exchange compliments on each others’ wild hair. (On view at Sperone Westwater Gallery on the Lower East Side through March 3rd).

Kim Dingle, Untitled (like your hair), oil on Plexiglas, framed, 51 x 41 x 2 ½ inches, 2017.

Gee’s Bend Quiltmakers at Kaufmann Repetto

Quilts by Gee’s Bend Quiltmakers Mary Lee Bendolph (background) and Loretta Pettway Bennett (foreground) are the highlight of Kaufman Repetto’s current group show, an exhibition that asks what’s new for art as more female artists have come to prominence over the past several decades.  Bennett’s denim quilt suggests that the contributions of many have produced a prize result.  (On view in Chelsea through Feb 24th).

Installation view of ‘Women are very good at crying and they should be getting paid for it,’ at Kaufmann Repetto, January, 2018. Featuring quilts by Gee’s Bend Quiltmakers Mary Lee Bendolph (background) and Loretta Pettway Bennett (foreground).

Li Wei at Galerie Richard

Li Wei flies through the air and walks on water in photos at Galerie Richard that appear to document gravity defying feats and even common sense.  Using mirrors (here, this technique is obvious), cranes and wires, the Beijing-based artist gives himself superpowers that other artists can only dream of.  (On view on the Lower East Side through March 11th).

Li Wei, Mirror, Hong Kong, c-print mounted on plexiglass, 176 x 176 cm, 2006.

Jamian Juliano-Villani at JTT Gallery

Jamian Juliano-Villani enchants critics with her latest show of realist paintings featuring “plenty funny” (Art Forum) yet “haunting (Art in America) collaged-together imagery. The “closely watched rising star’s” (Artnet) “impressive…gonzo paintings” (The New Yorker) include this blue-furred model strutting the runway with Key Food bags – a setup that offers entre into a strange alternative universe. (On view at JTT Gallery on the Lower East Side through Feb 24th).

Jamian Juliano-Villani, Three Penny Opera, acrylic on canvas, 74 x 50 inches, 2018.

Arcmanoro Niles at Rachel Uffner Gallery

Arcmanoro Niles’ portraits – set in the Washington DC neighborhood where he grew up – feature not only their posed subjects but a host of secondary, ghoulish characters who the artist calls ‘seekers.’ Though this boy’s vibrant youth is made magical by his glittery hair, an odd creature wrapped around his feet could be setting the boy up for a fall. (On view at Rachel Uffner Gallery on the Lower East Side through Feb 25th).

Arcmanoro Niles, One day I’ll feel it too (Seeking shelter), oil, acrylic and glitter on canvas, 54 x 34 inches, 2017.

 

Gil Batle at Ricco/Maresca

Gil Batle is back with a second solo show at Ricco/Maresca of ostrich eggs carved with stories of various inmates encountered during the artist’s past prison sentences. Every bit as absorbing as his first show here in 2016, this exhibition features eggs like ‘Abducted,’ which explores a murdering dentist’s tales of alien interference in his life. (On view in Chelsea through Feb 24th).

Gil Batle, Abducted, carved ostrich egg shell 6.5 x 5 x 5 inches, 2017.

Martin Klimas, Polarization 10998 at Foley Gallery

By passing polarized light through scrolled and bunched transparent films, German artist Martin Klimas creates an enticing abstraction in an array of tones and colors. (On view at Foley Gallery on the Lower East Side through Feb 18th).

Martin Klimas, Polarization 10998, 24 x 18.5 inches, archival pigment print, 2016.

Barton Benes at Allan Stone Projects

Books are bound with covers of cigarettes or melted crayons, studded with nails like a fetish object or stuffed with garbage in Allan Stone Projects’ exhibition of Barton Benes’ book sculptures. This book from c. 72-74 is at the mercy of a giant safety pin, perhaps holding the book together, keeping it closed or treating it like a punk or a diapered baby? (On view in Chelsea through Feb 24th).

Barton Benes, Untitled (Book with Safety Pin), mixed media book construction, 3 x 6 x 3 inches, c. 1972-74.

Jason Martin at Lisson Gallery

Nearly twenty years after his last New York solo show, British artist Jason Martin is back with limited palette paintings in swathes of oil paint as lush and thick as frosting. (On view at Lisson Gallery’s 24th Street location through Feb 24th).

Jason Martin, Untitled (Olive Green Deep/Graphite Grey), oil on aluminum, 220 x 178 cm, 2017.

Robert Indiana at Paul Kasmin Gallery

Robert Indiana’s mid-1960s monument to love continues to work its magic on audiences around the world as the artist nears his 90th birthday. Now at Paul Kasmin Gallery, this towering steel sculpture multiplies and magnifies the term in all its myriad understandings. (On view at Paul Kasmin Gallery’s 27th Street location through March 3rd).

Robert Indiana, LOVE WALL, cor-ten steel, 144 x 144 x 48 inches, 1966-2006.

Robin Rhode Photographs at Lehmann Maupin

In a sequence of six photos by South African artist Robin Rhode, an acrobatic mathematician contorts his body to project a ‘Lute of Pythagoras,’ a series of pentagrams locked together in pleasing mathematical proportion. At the gallery entrance, Rhode quotes Swiss architect and urban planner Le Corbusier’s assertion that humanity attempts to save itself from chaos through geometry. Rhode’s efforts to better humanity by joining art and geometry feel poignantly quixotic. (On view at Lehmann Maupin Gallery in Chelsea through Feb 24th).

Robin Rhode, one of six panels in Meditation on the Lute of Pythagoras, 6 parts, each 21.5 x 28.58 x 1.5 inches, c-print, 2017.

Eddie Martinez, Love Letter #13 at Mitchell-Innes and Nash

A practical mentality dominates Eddie Martinez’s current two gallery solo show at Mitchell-Innes and Nash. Not finding a studio last summer, he painted in his yard. Finding inspiration in his daily drawings on family stationery, he scaled them up as eight-foot tall paintings. Titled ‘Love Letter,’ the second body of work would seem to refer to his wife’s name at the top of each painting though given the significance of drawing to his evocative abstract forms, he may have another muse in mind. (On view in Chelsea through Feb 24th).

Eddie Martinez, Love Letter #13, silkscreen ink, oil, spray paint and enamel on canvas, 96 x 75 inches, 2017.

Jukhee Kwon at Ierimonte Gallery

Italy-based Korean sculptor Jukhee Kwon gets a lot out of books, specifically paper sculptures created by slicing into volumes in geometric patterns that cause pages to descend to the ground or explode outwards. Here, a New Testament morphs into ‘Campana’ (bell), a gravity-defying cascade of a delicate form. (On view at Ierimonte Gallery on the Lower East Side through March 16th).

Jukhee Kwon, Campana, mixed media, 11 13/16 x 13 37/48 inch, 2017.

Tabaimo at James Cohan Gallery

Inspired by a woodblock print from Hiroshige’s ‘100 Famous Views of Edo,’ Tabaimo extends the life of the 19th century artwork in an animation that gives life to a mysterious female figure behind the balcony screen. Despite a spilled vessel and briefly flailing octopus tentacles, the scene retains its sense of tranquility and intrigue. (On view at James Cohan Gallery’s Lower East Side location through Feb 25th).

Tabaimo, still from Obscuring Moon, single channel video, 2016.