Shen Shaomin at Klein Sun Gallery

This painting is from the MoMA series, but it’s never been in the Museum of Modern Art. Instead, this piece of rogue modernism is a remake of Van Gogh’s famous Starry Night, painted by Chinese artist and provocateur Shen Shaomin to look as if it’s covered in bubble wrap. Even the packing tape is painted, not just trying to impress as trompe l’oeil, but suggesting that famous paintings are just another commodity. (At Klein Sun Gallery in Chelsea through April 29th).

Shen Shaomin, Handle with Care – MoMA No. 6, oil on canvas, 29 x 36 ¼ inches, 2017.

Thiago Rocha Pitta at Marianne Boesky Gallery

A tent of wet cement appears to either disgorge or swallow a lush spill of mosses in Brazilian artist Thiago Rocha Pitta’s ‘The First Green,’ an installation at Marianne Boesky Gallery in Chelsea. Though the scene appears to be a static standoff between the survival of man or nature, Rocha Pitta avoids thinking in binaries. On the wall, frescos resemble ancient microorganisms performing photosynthesis, producing oxygen, and continuing a process that has gone on for billions of years. (On view through April 29th).

Thiago Rocha Pitta, installation view of ‘The First Green’ at Marianne Boesky Gallery, April, 2017.

Jackie Saccoccio at 11R

Jackie Saccoccio tilts and shifts her canvas while pouring paint to create a grid of drips; in her latest work, the grid both dominates the paintings and disintegrates in vibrant, explosive colors. (At 11R on the Lower East Side through April 30th).

Jackie Saccoccio, Time (Splinter), oil and mica on linen, 79 x 90 inches, 2017.

Allan McCollum at Mary Boone Gallery

Why do we collect objects? Whether it’s art, fossils or shoes, Allan McCollum suggests that we’re looking to fulfill greater needs. In this piece from 1991, currently on view at Mary Boone Gallery’s 24th Street location, McCollum presents cast copies of original bones from the Carnegie Museum, begging the question of what their collection and display means for human history. (On view through April 29th).

Allan McCollum, Collection of Two Hundred and Forty Lost Objects, dimensions variable (240), enamel/glass-fiber reinforced concrete, 1991.

Leidy Churchman in ‘Sputterances’ at Metro Pictures

Leidy Churchman’s carefully arranged giraffes in the group exhibition ‘Sputterances’ at Metro Pictures categorize nature into manageable options, here, small, medium and large. Titled ‘Free Delivery,’ the painting equates the animals with product consumption, coincidently offering a provocative comment on the huge on-line audience that watched April the giraffe give birth to a calf in an upstate animal park in recent weeks. (In Chelsea through April 22nd).

Leidy Churchman, Free Delivery, oil on linen, 54 x 81 inches, 2017.