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Nov 6thAcross works on paper, paintings on aluminum, steel windows and sculpture, Helen Marten’s “Therefore, an Ogre,” at Greene Naftali, plays with words, symbols and mysticism.
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Dec 7th“Senseless,” an exhibition of new work by Mitchell Charbonneau, riffs on the prosaic objects of the world—the folding chair, car fresheners, wall supports—to draw attention to the loveliness and banality of the everyday.
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Oct 31stIn his first ever exhibition, indie director Jim Jarmusch debuts a series of “Newsprint Collages” that splice and reconfigure faces according to the chimerical logic of pastiche.
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Oct 24thCristina Canale’s solo exhibition at Nara Roesler induces a sense of bafflement. The Berlin-based Brazilian artist’s portraits burst with color but retain an absence—the subjects are amalgamations of estrangement and grace, infinite potential and cryptic disposition.
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Nov 6thThomas Schütte presents a selection of playful and poignant new sculptures, prints, and drawings at Peter Freeman, Inc.
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Oct 30thTotah’s current exhibition, “Off the Grid,” is the largest show of work by the under-known yet extraordinarily influential artist Wallace Berman in several decades.
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Oct 23rdTakako Yamaguchi’s close involvement with the Pattern and Decoration movement of the late 1970s and early ’80s belies the political undercurrents that run through the two paintings presented in “Smoking Women” at Egan and Rosen.
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Nov 2ndOdili Donald Odita’s sublime, sharp-edged abstract works are paired with the mantra-like text-based artwork of Samuel Jablon in the inaugural exhibition at Morgan Presents.
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Oct 30thIn “Heads and Torsos,” on view at Bortolami, the Argentina-born, New York-based artist Nicolás Guagnini contributes two series of oil paintings in which the line between depiction merges irretrievably with that which they depict.
Lisa Yuskavage
New Paintings
David ZwirnerFinal WeekThrough
Oct 23rdIn her seventh solo show at David Zwirner, Lisa Yuskavage reveals a multifarious new body of work, centered on a series that explores the artist’s studio.
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Oct 31stTyler Mitchell’s first two shows expand a conception of Americana aesthetics to include idyllic scenes from Black history, domestics, and everyday life.
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Oct 30thMichael Dean’s first exhibition with Andrew Kreps gallery roots at the edges of expressive possibility, expanding the capaciousness of language by lamenting its limits.
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Oct 30thAnthony Cudahy’s “Coral Room” at Hales Gallery presents a web of queer connectivity.
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Oct 23rdKon Trubkochich’s “The Antepenultimate End” at Gagosian captures the aftermath of the U.S.S.R. as seen on TV.
