Roxy Paine’s three new dioramas at Paul Kasmin Gallery continue the artist’s interest in systems of control. Here, a view into a view into a hotel room alludes to the CIA’s experiments in administering LSD to unsuspecting civilians in the 1950s. The meticulously crafted scene illustrates a shocking invasion of privacy and personal well-being. (On view in Chelsea through July 1st).
Subway advertising boards, scraped free of ads before being recovered by new posters, continue to inspire Wyatt Gallery’s ongoing photo series, ‘Subtext.’ In the latest work, he considers his images as portals to more tranquil, meditative environments than the train platform. (On view at Foley Gallery on the Lower East Side through June 25th).
Nicola Lopez mixes interior and exterior walls, façade and skeleton in her bold installation at Jacob Lewis Gallery in Chelsea. Titled ‘Big Windows: Skin: Portals’ Lopez questions the impenetrable quality of anonymous modern glass wall architecture, mounting woodcuts on normally hidden metal studs that support interior walls. (On view through June 30th).
Four hands repeat a gesture with multiple interpretations in the roughly woven lattice of Athansios Argianas’ bright, electroformed copper wall sculpture at On Stellar Rays. Interpretable as OK, perfection (if kissed by the lips), zero or something ruder, the sign is enhanced by a long title that suggests that seeing is as changeable as the sea. (On view on the Lower East Side through June 25th).
Anne Neukamp’s post-analogue paintings picture office tools in large-scale, graphically simple images that look as if they’ve been composed in digital space, yet are manifest before us in oil, tempera and linen. Titled ‘Morsel,’ this tantalizing icon offers a puzzle piece and a mystery envelope, dangling meaning in front of viewers. (At Chelsea’s Marlborough Contemporary through June 24th).
