“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.
Cristina 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.
Takako 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.
In “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.