Conceived in the glow of new romance, Taylor Swift’s album Lover was confectionary and soft. Josephine Pryde could not stop throwing up.

A suite of new paintings marks a subtle shift in Chelsea Culprit’s visual lexicon, turning away from the bright hues of Pop and Cubist perspective games evinced in her earlier work.

The words masterful and mastery assert themselves the instant one encounters the works in “My Body,” both for Nancy Grossman’s command of a wide range of skills and her active state of dominance, identity and selfhood.

Rosa Barba’s “Drawing the Infinite” is a mechanical funhouse of 35mm film projectors that refuses to make meaning on conventional cinematic terms.

Inspired by fractals, Renee Cox’s deity-like collages of Black figures constitute an Afrofuturist creation myth.

Exhibited with melodic sight-lines, Mary Manning’s “Ambient Music” hums with the background noise of the subconscious.

Animated by a cinematic introspection, Michaël Borremans’s uncanny portraits and paintings of enigmatic vitrines engender more questions than they answer.

The sonic encounters provoked by Camille Norment’s elaborate acoustic artworks serve as agents for social consciousness.

Over a 70-year career, Dorothea Tanning shed her stylistic skin several times while maintaining a basic focus on the female body often caught in the middle of mysterious sexual drama.

Using the linear and color-saturated vernacular of children’s books, Christopher Myers tells the story of six 19th-century revolutionaries: Wovoka, Nongqawuse, Nat Turner, Hong Xiuquan, Te Ua Haumene and Alice Lawkena.

At once lush and direful, Michael Raedecker’s painterly visions of ecological and societal collapse suggest a future after extinction.

Shot between 2012 and 2013, Stephen Shore’s “Survivors in Ukraine” documents the lives and homes of Holocaust survivors.

A traveling exhibition of 69 oil paintings, watercolors and works on paper aims to chart Milton Avery’s trajectory and contextualize his work for a new generation.

Jesús Rafael Soto’s work allows us to experience a sense of touch without contact and enter a place that is neither fully physical nor dematerialized, not unlike the immersive art of our time.

You’ll leave Elaine Reichek’s second solo exhibition at Marinaro, “MATERIAL GIRL,” with a slapdash bachelor’s degree in art history: painting, embroidery, text and textile works reference 19th-century teaching samplers, literary texts, fashion, Baroque art, conceptual art and more.

Austin Lee’s virtual world combines airbrushed volumetric shading and hard-edged blocking to achieve the floating, unreal quality of renderings in untethered space.

Full of whimsy and delight, Fernanda Laguna’s work in “The Path of the Heart” cuts an incisive critique of sociopolitical issues in Latin America.

Enigmatic and idiosyncratic, “New You” is both entirely specific to Leidy Churchman’s lived experience while also ringing with deeply resonant cultural and aesthetic signifiers.

At Greene Naftali, Richard Hawkins reconsiders the runic work of Forrest Bess, once written off as psychoanalytic symbolism, as an alphabet for an erotic language beyond the gender binary.

Referencing Matisse, Cézanne and others, Hilary Pecis’s joyful paintings of erudite domesticity are less about the atelier’s mystique than the fully realized depiction of a bourgeois interiority.

Sam Bornstein’s dreamy and soft-spoken paintings in “Variety Lofts” evoke a sense of city life in close vicinity.

New entries to Thomas Struth’s long-running series “Nature and Politics” and “Family Portraits” include his photographs of CERN, where scientists study the origin of the universe.

In Uuriintuya Dagvasambuu’s first exhibition in New York City, the traditional shoulders the modern, the nomadic lingers alongside the sedentary, and physical barriers induce virtual hyperconnectivity.

Across industrial sculptures and neon works, Zak Kitnick’s freewheeling signs and symbols assert their own objecthood and associations.

The work in Valentina Vaccarella’s “Bless this Life” rests on a simple irony: monogrammed, embroidered French bridal linens pulled taut across stretcher bars and besmirched by rough images of modern madams.

Nearly every work from this exhibition spanning fifty years of Oliver Lee Jackson’s practice offers opportunity for quiet contemplation.

Desire haunts this moving exhibition of the letters and postcards that David Wojnarowicz exchanged with his lover, Jean Pierre Delage, in the early 1980s, alongside artworks made during the first years of his career.

Yasi Alipour’s cyanotypes on folded paper propose that mathematics and logic can be concrete languages articulated by the body in motions and gestures, as opposed to abstract signs and integers.

In “The New Bend,” curated by Legacy Russell, the executive director of The Kitchen, 12 contemporary artists extend the slicing, pinning and stitching techniques of the Gee’s Bend quilters across an exhibition that nods to handicraft, but also digital media, collage and alternative methods of Black queer production.

Referencing both music and Minimalism, Jennie C. Jones’s paintings, drawings and aural work share the strange relation between sound art and “deformalism.”

With “KYLE,” Erin Calla Watson culls Reddit for images men share of their homes, indulging their pathos in sympathetic renderings, but from the perspective of the objectified.

Daniel Lie’s “Unnamed Entities” at the New Museum challenges the antiseptic aim of curation and conservation by imagining a different kind of organic art that needs to be nurtured rather than preserved.

An economical survey of Jonas Mekas, “The Camera Was Always Running” serves as a touching introduction to the Lithuanian filmmaker and champion of avant-garde cinema.

Work by three artists at Abrons Art Center deal with the connections between the Lower Manhattan urban environment and retail, particularly in post-9/11 New York, where development has consistently privileged commerce and surveillance in equal measure.

Inaugurating Polina Berlin’s eponymous gallery, the 10 artists in “Emotional Intelligence” aim to find a new center between abstraction and figuration, dream and reality, the old and the new.

Half-drawing, half-painting, Hannah Taurins’s portraits weave the anonymity of her sitters to create irresistible encounters.

Barkley L. Hendricks’s early paintings of basketballs and courts represent the societal significance and cultural ubiquity of the game.

The word “trophy” may connote gilded prizes perched upon shelves, but this show of work by Raymond Pettibon, Andra Ursuţa and Sven Sachsalber calls to mind something more nefarious: trophies of war.

In Troy Montes Michie’s second solo show at Company, his interventionist collage practice centers around “La Pachuca,” a gender-bending Los Angeles women’s style incorporating dark lipstick, stacked haircuts and oversized suit jackets, which led to a brutal 1943 attack by white servicemen against the Mexican community of Los Angeles, known as the Zoot Suit Riots.

The Israeli visual artist Keren Cytter makes a pithy but absorptive debut at Jenny’s with the three-work show “Bad Words.”

“He who brings Kola, brings life,” wrote Chinua Achebe in Things Fall Apart. In Ifeyinwa Joy Chiamonwu’s new exhibition, kola nuts represent a gesture of welcoming and serenity, at home or elsewhere.

The word “Fret” takes on delightfully wavering connotations in Shannon Ebner’s exhibition of black-and-white photos and a poetic installation at Kaufmann Repetto.

The late Vincent Smith depicted Black life in New York City, from jazz clubs on weekday nights to the burgeoning Civil Rights movement.

Rowan Renee’s “A Common Thread” transforms Recess Art into a collaborative weaving studio that positions the body as a kind of loom for shared experience.

James Castle’s deceptively simple drawings craft an entire universe out of his humble home and immediate surroundings.

“The treachery of images” is a fitting thesis for “Picture in Picture,” an exhibition of the work of John Seal at Harkawik gallery.

Bruce Nauman’s new 3-D installation His Mark is a kind of self-portrait of the artist as an impermanent and mortal presence.

Rachel Rose’s recent work combines historical fiction and fantasy to explore the moment when feudalism was supplanted by modern capitalist ideology.

In Tomasz Kowalski’s exhibition of new work, the Polish artist on the vanguard of a new surrealism movement turns his sights onto gutted city life

Stitching together images he made while wandering around the city, Nick Relph captures the bricolage nature of urban life.

Hugh Hayden’s public installation suggests a new way of thinking about education when the nation’s schools are ravaged by COVID-19, systemic racism and other structural inequalities.

Celia Vasquez Yui presents an extraordinary congress of earthenware animals that, within Shipibo cosmology, serve as conduits between humans and nature.

Each of David Weiss’s drawings here is a kind of exquisite corpse—except whereas the Surrealists swapped drawings as a way of articulating some collective unconsciousness, Weiss’s dialogue is with himself.

Beaux Mendes invokes doppelgängers, double negations, and purposeful obfuscations in searingly original new works for “Capitol Reef” on view at Miguel Abreu.

The softwood block toys and gridded paintings in this show of work by Joaquín Torres-García represent the artist’s shift towards abstraction and embrace the expressive possibilities of free play.

Color and composition, Matt Connors’s chief tools of trade, are on view in his idiosyncratic new exhibition of abstract paintings at Canada.

The word “phenomenal” in “This Phenomenal Overlay,” the title of Sahra Motalebi’s exhibition at Brief Histories, is a double entendre: an adjective of quality as well as a descriptor of the experience of the work, which bowls one over with overlaid aural, tactile, and visual stimulus.

In “You Again,” the Bridget Donahue arm of an international six-venue survey exhibition of work by Rochelle Feinstein, new paintings appear alongside or atop older ones, as if visited by a specter.

A retrospective of H.R. Giger makes the case for inducting the late Swiss artist of gritty sci-fi visions into the pantheon of fine art.

Anchored by the seven-foot Life Boat, Julia Rommel’s exhibition trains our attention on the thinnest slivers of color and the textures of the gallery itself.

Wade Guyton’s “Supply Chain” playfully extends his interest in image-production to his own artistic practice.

The works on view share a central color palette and a sense of quiet, unindignant devastation.

In 1976, Lutz Bacher staged an interview as President John F. Kennedy’s assassin.  “The Lee Harvey Oswald Interview” collects each of the interview’s many artistic iterations.

Shanique Emelife’s first exhibition articulates a sense of close community and expresses the complex emotions of a first-generation immigrant through simultaneous feelings of familiarity with and distance from the past.

In her first-ever solo show, Olivia Vigo delves into the deeply personal, oddly uncanny and often heartbreaking nature of storage spaces.

“A Way of Seeing,” an exhibition of Shikō Munakata at the Japan Society, showcases the artist’s innovative and re-invigorating style across prints, silk paintings and engravings.

Curated and mediated by Tiona Nekkia McClodden, “Tell me there is a lesbian forever…”  at Company Gallery examines the ways in which filmmaker Barbara Hammer made herself and others through her work.

Featuring Emily in Paris and dog shit, John Kelsey’s “The Pea Stakers”—his third exhibition at Galerie Buchholz—is an offbeat meditation on mediation.

Toggling between the sacred and the mundane, Gauri Gill’s tableaux vivant are imbued with deadpan charm that subtly refutes the camera’s authority.

In the drawings, paintings and video work of Mei Kazama, and Lu Zhang, and Banyi Huang, and Maya Yu Zhang, return is the operative mode—temporally, physically, and spiritually.

Peter Bradley’s second solo exhibition at Karma describes depths, delineating phantom, watery spaces flecked with movement and collisions.

Etel Adnan’s first museum exhibition in New York work spans over half a century and challenges the division between the Lebanese polymath’s writing and visual art.

Impressive and overdue, this survey of Winfred Rembert’s art makes a modest symphony out of his life in the Jim Crow South.

In “Vegyn,” curated by K.O. Nnamdie for Anonymous Gallery, works by Darren Bader, Dan Colen, Rose Salane, Agathe Snow and Andre Walker find common ground in assemblage. Each artists’ approach to realizing their pieces offers pathways to consider in-between states of existence.

The white box of Miguel Abreu Gallery serves as the perfect slate for Marina Rosenfeld’s experimental acoustic architecture.

JJ Manford’s paintings of exquisite interiors at Derek Eller are an invitation to imagine a world where art from various times and places sit beside the rituals of daily life.

There’s plenty on view at Christopher Knowles’s first solo show with Bridget Donahue for both new arrivals and those who have tracked his fifty-year career alike.

“Le Rouge et Le Noir,” an exhibition of Whitfield Lovell at DC Moore which operates on literary, musical, historical registers, black and red represents more than just the shift to a different binary, embracing ambiguity as a means to generate multiple meanings.

The stillness, the disquiet, the funereal aura. Every aspect of Cinga Samson’s paintings advances the sense of an alternative world—parallel to ours, but not out of sight.

Recent works by Tishan Hsu reveal the hidden form of our dystopian present within the static of current events.

Elizabeth Jaeger’s handmade cage and fired ceramic scenes at Jack Hanley Gallery suggest microcosmic worlds encased within larger ones.

The focus of the Brooklyn-based artist Oliver Clegg's latest show, “We Cat” at Journal Gallery, as one can infer from the title, is cats. T

“inbetweenness,” a two-work exhibition of Félix González-Torres at the Judd Foundation, operates in the shimmering space between object and surroundings, public and private, inside and outside.

Drawing from sci-fi, tarot and other iconographies, Jessie Makinson depicts witchy and chimerical figures set in an erotic fantasy court.

Inaugurating 52 Walker, Kandis Williams’s “A Line” asserts the ability of dance to transcend the constraints of history.

Chris Oh turned to Hieronymus Bosch in realizing his latest body of work, which recreates select scenes from five triptychs, including, not least of all, the iconic The Garden of Earthly Delights.

Edgar Serrano’s solo show brings together 10 works that borrow the aesthetic language and narrative logic of animated cartoon worlds to explore manifold layers of personal and cultural meaning.

Jennifer Packer’s largest exhibition to date plumbs the limits of beauty, art and depiction to capture the stories and sorrows of portraiture.

Through 55 photos—many never-before exhibited—and archival material, “Alternate Histories” adds texture to the ample discourse on Francesca Woodman, whose work refuses to conform to any singular reading.

This sweeping exhibition of Ruth Asawa’s work posits that the artist was a weaver not only of objects, but of worlds.

In Alice Trumbull Mason’s “Shutter Paintings,” on view at Washburn Gallery, 16 paintings give way to stunning permutations of feeling, atmosphere, light, and color, and shed light on life within a circle of Abstract pioneers.

From lifelike sculptures of panes to drawings of barred windows, recent works by Robert Gober invite us to escape the prison of our own flesh.

Troves of motley found objects suspended in densely layered rope or metal wire make up the hulking sculptures in “And I Say, Brother Had A Very Good Day, One Halo,” Arthur Simms’ first solo show at Martos Gallery.

Her third show with the gallery, “Psychic Nerve” continues Mira Dancy’s steady upward trajectory—while employing her fundamentally formalist approach to explore as-yet uncharted spatial, philosophical and fantastical territories.

Each work in Maggie Lee’s “Vintage Paintings” at Jenny’s Gallery is its own special gift, a colorful package whose playful surface invites you to enjoy its idiosyncrasies.

Arthur Jafa’s new film, AGHDRA is a glacial, abstract meditation on Blackness, the perpetual trauma of the transatlantic slave trade and the way those histories might play into the climate and refugee crises today.

“The Nervous System,” Elmgreen & Dragset’s first show at Pace, stages the dystopian reward system of capitalism as an unsettling domestic novel.

“Living Abstraction” highlights Sophie Taeuber-Arp's exploration of abstraction, how she contributed to its development in turn, and how her art and life were ultimately inextricably fused.

A small but powerful show that speaks to the culturally complex trajectories of modernism in the 20th century, “Detail from a Mural” introduces New York City to the absolutely magnetic painter, poet and publisher Ahmed Morsi.

“James Ensor. An Intimate Portrait” at Gladstone gallery examines each facet of his many “-isms,” as well as his hodgepodge of mixed messages and cross-meanings.

Nearly 40 works Rene Ricard produced between 1989 and 2014 are evidence of the enduring, intoxicating effect of the writer, poet and artist’s persona.

In her new exhibition, Anna K.E. approaches the vast, generic bureaucracies that produce homogeneity in a globalized world.

This survey of work from the late 1970s through today presents dozens of David Salle’s depictions of an ongoing and ever-evolving epoch.

Somewhere between encyclopedic documentation and ceaseless speculation, Cynthia Talmadge’s “Franklin Fifth Helena” locates the details that most humanize Marilyn Monroe.

This well-researched exhibition centers the work of Leo Amino, Minoru Niizuma and John Pai, each formally unrelated except for their Asian heritages and the legacy of their teaching across New York City institutions.

In Gala Porras-Kim’s “Precipitation for an Arid Landscape,” the acts of putting one stone over the other, of brushing off the earth to reveal a column, of sketching graphite over paper all become acts of wonder.

Consisting of nearly 250 images, this exhibition of Chris Marker’s photographs, prints and film stills commemorates the influential auteur’s 100th birthday—and the 9th anniversary of his death.

When Joseph E. Yoakum first picked up a pencil at 71, he’d already travelled the world several times over. A new exhibition features more than 100 landscapes he drew from memory over the prolific final decade of his life.

In her newest exhibition at Marian Goodman, Tacita Dean raises a pantheon of figures dead or lost, spanning centuries, continents, and the artistic imagination.

“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.

On view at Alexander and Bonin, “Relativity Clock” turns back the clock, showcasing important work from across Thek’s long but nonetheless prematurely curtailed career tapping, which tap into a sense of suspended or queered time.

The late Barbara Ess was the rare figure whose strength lay in navigating that oft-maddening void between an impalpable idea and its physical articulation. Ess was in the process of curating this exhibition when she passed away in March 2021. Her longtime friend and collaborator, the filmmaker Peggy Ahwesh, stepped in to see the project through.

Totah’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.

Marcel Dzama’s works at David Zwirner are nostalgic not just for life before the current pandemic, but also for a time long ago, when nature retained an unknowable allure.

A survey of Philip Guston’s late work at Hauser & Wirth boldly exhibits the artist’s controversial paintings of figures resembling the Ku Klux Klan.

In 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.

In “Point of View” at JTT, Diane Simpson delights in unintuitive architecture, envisioning a world just slightly bent out of proportion.

Louise Lawler’s new photos at Metro Pictures are a testament to the hidden lives of vaunted objects and a lyrical elegy for lockdown.

Ghada Amer’s paintings in “The Women I Know Part II” at Marianne Boesky Gallery defy the male gaze and present intimate portraits of female identity.

“Ways of Attaching” at the Swiss Institute traces Rosemary Mayer’s desire to connect the tactile beauty of textile to semiotics, historical figures, and female empowerment.

Kon Trubkochich’s “The Antepenultimate End” at Gagosian captures the aftermath of the U.S.S.R. as seen on TV.

Featuring nearly a dozen monumental paintings across two new series, “Reality Ender” marks Avery Singer’s highly anticipated debut at Hauser & Wirth.

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.

Tyler Mitchell’s first two shows expand a conception of Americana aesthetics to include idyllic scenes from Black history, domestics, and everyday life.

At Nicola Vassel Gallery, Alvaro Barrington links his experiences in Latin America, the Caribbean, and Brooklyn to the life of Jamaican activist Marcus Garvey.

Anthony Cudahy’s “Coral Room” at Hales Gallery presents a web of queer connectivity.

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.

Michael Dean’s first exhibition with Andrew Kreps gallery roots at the edges of expressive possibility, expanding the capaciousness of language by lamenting its limits.

At Maxwell Graham/Essex Street, Jos de Gruyter and Harald Thys reprise a 1993 installation documenting a fictional coup in Belgium.

“Mangiferin Chintz” at LAUNCH F18 engages the process of tracing the inventory of Hasan's South Asian American diasporic consciousness.

At Participant Inc., Susanne Sachsse and Xiu Xiu reimagine a 1970 libretto by the Bauhaus artist Kurt Steubel.

Thomas Schütte presents a selection of playful and poignant new sculptures, prints, and drawings at Peter Freeman, Inc.

Diane Severin Nguyen’s short film explores the fallout of the Cold War through the individual journey of a young Vietnamese child joining a K-Pop group in Warsaw, Poland.

“More Life: Ching Ho Cheng” at David Zwirner resituates Cheng’s spiritualist tendencies within a framework of queer ecology, and vice versa.

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.

Odili 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.

In 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.

Across 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.

In her new exhibition at the Kitchen, Jen Liu subverts the Millennial-pink vernacular of contemporary feminine life.

“Once Upon a Time,” Erna Rosenstein’s exhibition at Hauser & Wirth, is a dark fairytale distilling a lifespan of rage, processing and longing.

The ninth iteration of an exhibition which has all but documented the rise of the personal cell-phone camera, “Social Photography IX” includes a lengthy roster of artists—all 5 x 7 inch prints, priced at an affordable $50 - $75—a benefit exhibition to support the gallery program.

The paintings on view in “Imaga” are haunted and haunting, imploring one to contemplate not a sublime landscape but an equally chilling vista found within.

Featuring new paintings and works by six artists, “The Sun Also Rises” is irreverent, rowdy, and unmistakably contemporary in spirit.

Mathew Cerletty’s solo show at Karma meditates on how we imbue the non-precious with sentimental meaning.

As the curator behind Karma’s sprawling summer group show, Hilton Als considers human nature in terms of essential survival instincts.

On view at The Museum of Modern Art, Shigeko Kubota’s “Liquid Reality” showcases shimmering experiments in memoir, dislocation and illegibility.

In the work of Oscar yi Hou, sitter, setting, and painter meet in a whirlwind of jewel-toned signifiers.

Nicole Storm creates an immersive installation that combines drawings, paintings, and sculptural works at White Columns.

“Objects for Living: Collection II,” an exhibition of the work of artist-designer Daniel Arsham, reinvents the home with objects sinewy, curvy, and bulbous.

Time is on the mind at GEMS, a new space in Chinatown—and time will tell what kind of gallery it will be.

The oppressiveness of any Monday meets the specific misery of a workday after a summer weekend meets the unspeakable dispiritedness of a pandemic summer in Roe Ethridge’s exhibition of new photographs.

“The New Woman Behind the Camera” showcases 120 artists from more than 20 countries, capturing but a portion of a wave of photographic production by women that swept the world.

High culture, low cuisine —there’s layers to “Ladyfinger and Fig Mcflurry,” a group show of twenty-one artists at 56 Henry.

Borna Sammak's "Beach Towel Paintings B/W Year in Words 4,” on view at JTT, draws upon symbols of contemporary culture to create a flowing installation and several wall works.

With a dozen artists on view, “Fringe” documents the contemporary resurgence of interest in the 1970s Pattern and Decoration art movement, including its emphasis on handicraft, femininity, and domesticity.

Widline Cadet’s first New York solo show at Deli gallery’s new Tribeca space, presents a series of photographs, videos, and installations.

A thematic group show curated by the gallery’s own Andria Hickey, includes artists outside the gallery program, presenting new modes of abstraction to reference specific histories.

Atop a collapsible plastic table near the entrance of Bridget Donahue sits a heap of cardboard boxes, displayed messily like zines at a DIY book fair—part of the artist Martine Syms’s current exhibition “Loot Sweets.”

In new works on paper, Lily Wong and Ian Faden dabble in a form of private occultism to carve out an uncanny world from the contours of our own.

A group show of ten Indian artists at Aicon Gallery riffs on Derrida’s idea of a gift drawing a temporal interval before its counter-gift, to meditate on the nature of time.

“West Coast Collage and Assemblies,” on view at Tibor de Nagy Gallery, homes in on the collages and assemblies produced by a group of avant-garde artists centered around California in the 1950s.

The group show “Nine Lives,” at Fortnight Institute, is a love letter to our furry familiars, illuminating the many facets of cats.

Curated by Eddie Martinez, “For the Birds” is a breezy, thirteen-artist group show wherein each work has but one thing in common: birds.

“The Shape of Time” demonstrates how Nancy Graves’s career was indelibly marked by the year she spent abroad in Italy in the mid-1960s.

Egan and Rosen’s ambitious inaugural exhibition juxtaposes contemporary drawings from Andra Ursuţa’s “Man From The Internet” series with Weimar-era wartime sketches by Otto Dix from nearly a century earlier.

In “Her Kind,” works by seven artists riff on, challenge, and transcend the established bounds of womanhood.

Gahl's latest solo show unveils paintings and drawings completed over a six month-period that concluded in March of 2021— a month that began with the artist's heat suddenly and inexplicably failing at his remote Connecticut home.

A group show at a83 showcases architectural drawings as radical and infinite vessels for thought and visual analysis.

On view at Company Gallery, “Dog” honors all that is evocative of dog-ness.

New York’s oldest alternative space is illuminated, explored, and celebrated in this exhibition, which presents a portrait not only of the gallery’s own venerable history but also of the ever-shifting downtown art scene.

“Bill Gunn Directs America” re-examines the legacy of director, novelist, playwright, and actor Bill Gunn.

In “Vigilator,” his second solo show with Ramiken, Phillip John Velasco Gabriel depicts flashes of futurity across largely spare canvases, as if tailored for a generation with a split-second attention.

The paintings and prints on view in “In Praise of Shadows” make visible that which all too easily slips away.

In “Dandelion Song,” Srijon Chowdhury’s second solo show with Foxy Production, flowers are the vessels for narrative, for emotions, for mysticism.

Paul P.’s watercolors, oil paintings, and ink drawings, on view at Queer Thoughts, are sensual depictions of faintly seen figures which probe the artist-muse relationship.

Spread across both Miguel Abreu's Lower East Side galleries, “The Poet-Engineers” brings together an array of mostly sculptural works that pose, and respond, to their own hermetic riddles.

In “Ocotillo Song,” Daniel Gibson’s solo show at Almine Rech, depictions of the landscape merge with familial and art historical legacies.

This exhibition surveys more than 100 works created over five decades by the Lebanese artist Huguette Caland.

In his latest solo show at Reena Spaulings Fine Art, Peter Wächtler's love for showmanship and exaggeration finds physical expression in the form of invertebrates, reptiles, and a mundane household chore.

An exhibition of Meg Webster's work blends new commissions with revivals of her past projects, now on view at The Arts Center at Govenors Island—an initiative of Lower Manhattan Cultural Council’s summer art programming.

The new series of animations and watercolors in Elliott Jamal Robbins’s solo show manifest a balance of social commentary with the personal.

Biblical references run deep in this exhibition at James Fuentes, a collection of works the late Thornton Dial made in the 1990s.

An entire universe of longing, projection, and perversion is contained in “Wish” at Metro Pictures.

On view at Meredith Rosen, each work of "TOES, KNEES, SHOULDERS, HEADS + BUTTS & GUTS" takes place at one of those respective heights, building up into a chimerical group show.

Taken over the course of the last six years, Oto Gillen's the large-scale photographs on view at Lomex, document New York City's recent past.

Miguel Cárdenas’s solo exhibition "Beyond the Fence" alludes not only to architecture and topographies but also the borders between realms surreal and psychological.

Peter Marino’s new foundation in Southampton shows off his extensive and eclectic art collection—and offers a peek into the architect and designer’s one-of-a-kind mind.

For her latest solo show at P.P.O.W., Ann Agee has turned the interior of the gallery into a tchotchke shop.

“Extraordinary Realities” illuminates Shahzia Sikander as an artist precocious, experimental, and resolutely committed to her ideals across changing landscapes, both physical and geopolitical.

This group exhibition toys with the notion of terror at home: a reflection on the past year spent indoors during the pandemic, featuring work by gallery artists dating back to the 1990s.

Nine pairs of artists come together in the spirit of solidarity for “Plus One,” a group show honoring friendship at Luhring Augustine.

In the group show “On the Shoulders of Giants” at Nara Roesler, multiple generations of Brazilian artists explore individual and collective memory.

In an exhibition of two series of photographs and a new collection of objects, An-My Lê, brings light to how ubiquitous the landscapes of war can be, and how repetitive its vernacular.

Antwaun Sargent’s curatorial and directorial debut at Gagosian Gallery, "Social Works," features work by artists such as David Adjaye, Linda Goode Bryant, Theaster Gates, and Carrie Mae Weems.

The first version of this group show of contemporary Brazilian artists premiered under the same name at Carpintaria, Fortes D'Aloia & Gabriel's venue in Rio de Janeiro in 2020. Many of the artists made works specifically for this New York iteration.

JDJ’s inaugural exhibition at its new Tribeca location is a celebration of itself.

In a solo exhibition at Jenny’s, frottage, a technique for taking rubbings, gives rise to Enzo Shalom’s pale and haunting works on paper.

The granddaughter of Alice Neel, artist Elizabeth Neel stakes a name for herself in a solo show of new paintings at Salon 94.

In “Conditional Bloom,” the artist’s first solo show with Lisson, Hanos shows dozens of new paintings, unified only by the artist’s promiscuous yet unmistakable sensibility.

Markus Lüpertz’s new paintings are wrought with the doubled edge of beauty and unease.

This delectable summer group show celebrates the return of small pleasures, such as dining indoors.

Ten watercolors from Modernist master Stuart Davis—made after a formative trip to Cuba—are on view in a solo show at Kasmin Gallery.

Tariku Shiferaw's abstract works distill a spectrum of emotions: happiness, wistfulness, and pain.

This exhibition weaves a selection of the late Martin Wong’s work with the recent work of Aaron Gilbert, who presents a New York transformed from the time of Wong but no less cruel, blighted by another pandemic.

Fifteen contemporary artists meditate on the medium of painting, spanning both floors, at Andrew Kreps Gallery.

Stephen Lichty presents five large-scale sculptures that read as parables of effort as well as the inevitable erosion of time.

Jo Messer’s “Knees to Navel” presents five oil paintings of women caught by often unseen currents of air or water.

On view at Queer Thoughts, Yui Yaegashi’s first solo show in New York City unveils a series of small-scale paintings that exemplify the artist’s techniques of process and precision.

In “Tristes Tropiques,” photographer Richard Mosse creates large-scale images that double as maps of ecological endangerment in the Brazilian Amazon.

This exhibition of works by, for, and around Ray Johnson spans the 1960s to 1990s, including Johnson’s signature “moticos,” collages of images culled from comics, magazines, and ads with irregular silhouettes, as well as drawings and ephemera, much of which has never before been exhibited.

In “Paper Trails,” Kyoko Hamaguchi and tamara suarez porras investigate the otherworldly potential of ordinary objects.

Jordan Barse's inaugural exhibition, "Deathbound and Sexed," featuring the works of Omari Douglin, Elizabeth Englander, and Ian Markell, pays homage to the spiritual remnants that remain in the gallery's new home.

The works on view in the group show “Hearts and Minds” challenge the ways in which public support morphs, mirrors, and subverts political pressure.

In Katherine Bradford’s third solo show at Canada, the 11 paintings on view are expansive yet intimate, alienated yet comforting, unexpected and even funny.

HOUSING’s latest exhibition brings together a group of artists and writers in the spirit of the late poet, playwright, and downtown patron of the arts, Steve Cannon.

In his fifth solo exhibition at Mitchell-Innes & Nash, Keltie Ferris debuts a suite of new paintings as well as his first wall drawing made specifically for the site.

Lucy Raven’s commission draws upon systems of industrial production in the Western United States to extend Dia’s investment in land artists to its new Chelsea space.

Patrick Sarmiento’s new show of painting and collage takes as its subject and inspiration the collapse and creation of new social rituals in a pandemic year.

Alex Hubbard presents mixed-media paintings as well as a hand-rigged video projector, all of which hint at the disordering effects of technology.

Gerhard Richter shows six mammoth paintings from his “Cage” series, all from 2006, alongside drawings made in 2020.

In Kunle Martins’s latest exhibition at Bortolami, the New York-based artist brings together a group of portraits drawn on found cardboard.

The ten stained-glass sculptures made by Kristi Cavataro for her first solo show in New York, at Ramiken Crucible, are somewhere between playground equipment and delicate automatons poised to whir into motion.

Sanya Kantarovsky’s untitled portraits are haunted, ghoulish, and disarmingly particular.

This group show at Mnuchin Gallery examines experiments in the space between 2D painting and three-dimensional space by Sam Gilliam, David Hammons, Suzanne Jackson, Al Loving, and Joe Overstreet from the sixties to the present day.

Nan Goldin’s first solo presentation in New York in five years surveys the artist’s legendary career and includes a new body of work made during the pandemic.

In this group show of fourteen contemporary non-binary and femme-identified artists, femininity is the lifeblood of the past, the land, and above all, the future.

Rose Wylie presents a suite of new paintings and paper-based works in “Which One,” the British artist’s first exhibition in New York City at David Zwirner.

Nearly 20 new paintings on view in "Aleczander," Chase Hall’s inaugural solo show at Clearing, reveal an approach in which the artist has isolated an abstracted dimension of self-identity, subsequently translating it into a distinct mode of portraiture.

Femininity is a performance of power in Natalie Frank’s new paintings and multi-media sculptures, at Lyles & King and Salon 94 Freemans.

Day’s End, an elegiac memorial to and stubborn ghost of eras bygone, will also serve as silent witness to the inevitable changes to come.

“nuns + monks” reveals a trio of Ugo Rondinone’s colorful cast bronze sculptures, a series that extends the artist’s longtime engagement with natural forms as it explores the ancient impulse to monumentalize our handmade creations.

Cameron Rowland’s latest solo show at Essex Street looks at historical precedents for modern policing, revealing how the law enforcement institution’s foundational logic works to perpetuate white supremacy.

In Igshaan Adams’s first exhibition at Casey Kaplan, the Cape Town, South Africa-based artist presents intricate, embellished woven tapestries alongside cloud-like wire sculptures.

Adriana Verajão explores the intricacies and heterogeneity of Latin America's people, culture, and mythos through specific traditions of ceramic tile.

Sound finds a visual analog in Suzanne McClelland's first solo show with Marianne Boesky Gallery.

At Metro Pictures, Louise Lawler re-uses and re-contextualizes her past work in two exhibitions presented simultaneously.

Petzel’s first solo exhibition of the late German artist Hanne Darboven, a collaboration with Sprüth Magers, is devoted to a towering single work documenting the year 1997.

In her inaugural solo show at Pace, Lynda Benglis presents six free-standing, cast-bronze sculptures—the latest manifestations of her long-running interest in knotted forms.

Chuck Nanney’s dressed-up self-portraits and Joel Otterson’s kaleidoscopic assemblages come together in a colorful show curated by Ugo Rondinone.

“Erotic Abstraction” examines the ways Eva Hesse and Hannah Wilke turned to the female body as a reaction to Minimalism in their sculptural practices.

Hopeful and somber coexist in the late Matthew Wong’s powerful ink paintings.

The massively influential Tetsumi Kudo is the subject of a survey exhibition at Hauser & Wirth which focuses on the late artist’s grotesque and fantastical container works.

Frank Bowling’s transatlantic comings and goings structure the narrative arc of his inaugural solo show at Hauser & Wirth, which is presented concurrently at the gallery’s New York and London locations.

In “Lilith and the Sun,” Los Angeles-based artist Mara De Luca makes use of the kind of transcendent illumination that spans Renaissance, Romantic, and Abstract Expressionist painting.

"Animitas" centers on the latest installation in a series of the same name that the French artist Christian Boltanski began in 2014—and became the last one he created before his death this past July.

Jennifer Bartlett’s lustrous dot paintings and her cartography-inspired canvases are on view in a solo show at Paula Cooper Gallery.

The decadence and decay of vanitas-style paintings are reimagined within gemstone-encrusted sculptures of fruit in Kathleen Ryan’s first exhibition with Karma.

Softness and strangeness define Ivy Haldeman’s new paintings of bodiless power suits and hot dog women.

A collaboration between Object & Thing, Blum & Poe and Mendes Wood DM, presents an exhibition of newly created contemporary art and design, including site-specific works, at the former home of architect and designer Gerald Luss that he designed and completed for his family in 1955 in Ossining, New York.

“Headless” is a transportive group show in which the ordinary order of things is skewed.

Centropy —the coming together of energy, or the opposite of entropy—is the guiding light of this Guggenheim exhibition of Deana Lawson’s recent work,

Barbara Bloom began “Stand-Ins” more than three decades ago—now, the latest chapter in her series is at the heart of her solo show "Works on Paper, On Paper" at David Lewis Gallery.

Famed Modernist sculptor Costantino Nivola, who died in 1988, is the subject of Magazzino’s latest exhibition, a sprawling retrospective of the Italian-American artist’s life and work.

Huma Bhabha’s new body of paintings and sculptures, on view at Salon 94, showcases eclectic idols in stages of ghoulish disintegration.

In a collaborative exhibition, Saul Chernick and InnerKiddo present joyful sculptures and environments which recall ancient or alien artifacts as well as the playthings of a child.

An architect by trade, Maya Lin returns to her roots with “Ghost Forest,” an installation in Madison Square Park which haunts the present as punishment from the past and specter of the future.

A homecoming of sorts, a number of influential projects begun or first shown in New York return in Nina Katchadourian’s solo show at Pace.

Kye Christensen-Knowles’s latest solo show brings together a group of surreal paintings featuring bugs, distorted bodies, monstrous creatures, Roman senators, and everything in between.

Polymathic artist, writer, and performer Gregg Bordowitz’s mid-career survey at MoMA PS1, “I Wanna Be Well,” memorializes, mourns, and agitates for awareness of the AIDS epidemic.

Hardy Hill’s lithographs and cutouts in “Almost Blind Like a Camera” capture the strange paradox of being alone with others.

This show collects the remains of a 2017 Desert X presentation in Coachella Valley, which displayed Prince’s own sometimes debauched family-related tweets.

Iconoclastic artist, inventor, and engineer Pippa Garner breathes new life into Jeffrey Stark’s Chinatown mall gallery with a kinetic sculptural installation.

Ecocriticism is one form of kinship between the programs of 47 Canal and Commonwealth and Council on display in the group show “친구”/ “Chingu.”

Anxiety elides with ecstasy, pleasure with dread, in Satoshi Kojima’s new paintings of lonely romantics and sweet creeps.

Christopher K. Ho gives us a glimpse of a disturbing possible future through the construction of a jagged, mirrored forest that disrupts the neatly-arrayed order of the cutting mat on which it is set.

In “Mitochondria,” the first comprehensive exhibition of Nona Faustine’s eponymous series, photographs of the artist’s family document and explore the deep bonds between women.

“Lone and Level,” Oren Pinhassi’s first solo show with Helena Anrather, includes four sculptures made of plaster and sand, some standing as high as eight feet, which are like caryatids broken free of the structures they once supported.

“Evidence,” which brings together archival prints from across Ming Smith’s half-century career, showcases the celebrated photographer’s range of subject matter and technique.

For her latest solo show, Liz Magor—who is known for transforming commonplace and oft-replaced objects—sees a worn, paint-splattered duffle coat take center stage.

Seven decades of Louise Bourgeois’s artwork and writing is on display in “Freud’s Daughter” at The Jewish Museum, probing her unresolved relationship to Freudian psychoanalysis.

In “5 Seasons,” Jason Fox’s seven new chimerical paintings question how and what it means to embody multiple perspectives simultaneously, particularly as an American. 

In the aptly named “Smoking And Painting,” Devin Troy Strother shows canvases and assemblages which are inspired not only by smoking and painting but also Philip Guston and Strother’s own mother.

Viewed in darkness, Elise Duryee-Browner’s “Vibe of the Era” and its accompanying text at Gandt is an ambiguous meditation on currency and materiality.

In his new exhibition of abstract paintings at Magenta Plains, Joshua Abelow riffs on the grid as both an archetypal structure in abstraction as well as a function of the digital world.

In a powerful new participatory work on view at Anonymous Gallery, the Dallas-based artist David-Jeremiah enfolds the viewer into an uncomfortable contract.

A tight, six-work group show inaugurates the gallery Jenny’s relocation from LA to New York with work that makes you look twice.

Michelle Grabner explores philosophical questions of repetition, difference, and domesticity across process- and repetition-driven works in a solo show at James Cohan.

Attuned to art and aesthetics in its manifold forms, O’Grady’s eclectic and extensive oeuvre, on view in her first major retrospective, delights in the frisson of unresolved or seemingly contradictory ideas.

A group show of artists Caitlin Cherry, Delphine Desane, Emily Manwaring, Kenya (Robinson), Sydney Vernon, and Qualeasha Wood dissolves restrictions on the Black femme body, real and virtual, in both in-person and online spaces.

Karon Davis's first solo show in New York City sets forth a sculptural tableaux that recreates the poignant, darkly iconic image of Bobby Seale, co-founder of the Black Panthers, tied up and gagged in a Chicago courtroom alongside 50 sculpted bags of groceries: a metaphor for the Black Panthers' community programs, depicted alongside a reminder of the violent government oppression they faced.

“Year Zero” traces net art pioneer Auriea Harvey’s practice from the late 1990s to now, marking the turn of the millennium and its attendant predictions of promise and disaster.

Olafur Eliasson's latest solo show at Tanya Bonakdar Gallery epitomizes the Danish-Icelandic artist’s decades-long experimentation with visual perception and experience.

Lucía Vidales presents new paintings in “Sudor Frío” which exemplify her imaginative practice: an exploration of figuration through the expressive power of pure pigment.

In the first exhibition to pair the two iconic artists, John McCracken’s work becomes distilled essences of the man-made world captured in William Eggleston’s photography.

The first large-scale institutional presentation of Niki de Saint Phalle in the United States explores her trailblazing forays into architecture, playgrounds, books, prints, film, theater, clothing, jewelry, and perfume.

A restless innovator known to destroy and re-appropriate her own works, a new solo show at Kasmin Gallery is dedicated to collage paintings Lee Krasner made across five decades.

Recognizable symbols, reconfigured in unfamiliar ways, loom large in Allison Miller’s fifth solo show at Susan Inglett Gallery.

In Dianna Molzan’s latest show at Kaufmann Repetto, doors and mirrors function as symbols of theater as well as objects with practical use.

Though the title of the exhibition pays tribute to an earlier generation of assemblage artists, “Springweather and People” is forward-looking, foregrounding the blossoming of the tradition in the works of ten artists.

A uniquely structured exhibition curated by Arthur Jafa offers a new take on Robert Mapplethorpe.

From a century-old jar of chun pei to a mass-produced miniature lantern, each of the heirlooms on view in this thusly titled exhibition holds some special significance for Asian American artists, curators, writers, and individuals, all of whom are connected in some way to Chinatown.

Andrea Fourchy’s second solo exhibition at Lomex brings together a new series of large-scale paintings depicting permutations of the same scene.

“PEOPLE,” Oscar Tuazon’s second solo exhibition with Luhring Augustine, debuts sculptural work which captures the stages of ecological metamorphosis.

Love, joy, movement, and vulnerability intermingle in Jeffrey Gibson’s new mixed-media paintings, sculptures, and video work to advance alternate systems of meaning and disturb the notion of chaos as inherently negative.

William Kentridge’s print show at Marian Goodman spans more than two decades and delves into ideas of exodus, historiography, and memory.

How do you give meaning to an object? You might stage it in an institution or gallery; better yet, you create a space of your own that infringes on the very idea. That’s the operating principle of Women’s History Museum, a project helmed by Mattie Rivkah Barringer and Amanda McGowan.

In Zak Prekop's latest exhibition, the painter brings together a suite of work whose fluid abstract forms abound in riotous colors and patterns.

Alteronce Gumby’s dual-site exhibition features 15 new works that straddle the color spectrum.

Jeanne Greenberg Rohatyn returns to the Upper East Side with a trifecta of exhibitions: Niki de Saint Phalle, Derrick Adams, and Takuro Kuwata inaugurate Salon 94’s new home.

Josephine Pryde’s humor-inflected and dread-inducing photographs depict octopuses and squids draped over the fixtures of airplane and airport bathrooms.

“FRAGMENTED BODY PERCEPTIONS AS HIGHER VIBRATION FREQUENCIES TO GOD,” Precious Okoyomon’s new installation at Performance Space New York, is an aquarium for grief.

The materiality of paper is the star of “Inner Chapters,” an eight-work show of Monique Mouton’s work on view at Bridget Donahue.

White Columns offers a survey of interdisciplinary artist Gerald Jackson’s 60-year career, showcasing work ranging from collage to fashion.

Sperone Westwater’s first posthumous retrospective pays tribute to the late artist and poet John Giorno.

The 25th edition of “In Practice,” SculptureCenter’s signature open call exhibition, interrogates non-resolution via themes of loss, grief, and mortality.

A compact and dynamic show of Man Ray and Francis Picabia documents the often counterintuitive evolution of the artists’ careers, in tandem and in their divergences.

Showcasing abstract work which operates at multiple registers, the most comprehensive retrospective of Julie Mehretu to date explores geopolitical issues such as the ongoing history of diasporic displacement and resistance.

The second part of the inaugural Asia Society Triennial tends toward environments, particularly dreamscapes.

Each of the sixteen domestic objects Gordon Hall presents in “End of Day” is the shadow or evolution of a recognizable one.

Presented at Pace Gallery, “Claes & Coosje: A Duet” chronicles the interchange between artists and couple Claes Oldenburg and Coosje van Bruggen. 

In Joe W. Speier’s first exhibition at King’s Leap, craft-store materials and drawings found online converge in eight gestural and figurative paintings that blur the lines between the digital and the analog and complicate definitions of authorship and artistry.

Maggie Lee’s site-specific display, installed on the fifth floor of the Nordstrom department store in Manhattan—part of the Whitney’s Emerging Artist Program— takes up questions of space, access, and fugitivity.

Six of Cameron Spratley’s rebuses—experiments in visual, textural, or cultural legibility—are presented by James Fuentes in this online show.

Jonathan Meese returns to David Nolan Gallery in an exhibition showcasing fantastical paintings, sculptures, and works on paper all made during quarantine.

Presence and absence intertwine in Nikita Gale’s latest show at 56 Henry.

Five artists come together for a group show at Martos Gallery that explores the uncanny realm of all things lost.

“Body Prints, 1968-1979” the first nonprofit exhibition to take as its subject David Hammon’s early paper-based works, is the most comprehensive of his monoprints and collages to date.

Duality gives rise to reciprocity in “Other Matters,” a show at Situations that balances new paintings by Sophie Larrimore with freestanding sculptures by Jerry the Marble Faun.

Objects defy their mediums in the eclectic group show “Speech Sounds” at More Pain.

"Winter of Discontent" gathers the work of 21 artists with an eye to the highly topical theme of environmental, political, and economic unrest.

Chris Dorland’s second exhibition at Lyles & King showcases new work that bridges aesthetic languages to examine the contradictions of technology’s fetish for progress.

A.I.R Gallery’s 14th biennial exhibition brings together 21 artists across a variety of media and practices to radically reconsider time, history, and the future.

Jay Heikes continues his signature kaleidoscopic play with canvases subjected to chemical tinctures and sculptures which suggest an expansive view of the world and universe.

Curated with an eye toward the uniquely shifting relationships to their homeland, the group exhibition “De Lo Mío” expands conceptions of Dominican identity, foregoing the simplification of universalizing narratives to revel in the tensions and complexities of each artist’s relation to their heritage.

Presented online by and on-site at Artists Space, this exhibition flows across ten curatorial and conceptual "threads" to capture and interrogate the still-unfolding sociopolitical shift in Hong Kong.

Artists Diamond Stingily, Puppies Puppies (Jade Kuriki Olivo), and Bri Williams present new work in a group exhibition that explores structures of power and marginalization through familiar objects.

At Friedman Benda, British artist Jonathan Trayte unveils a new body of surreal and sculptural furniture inspired by a cross-country road trip.

Dreamlike figures, rendered with a Technicolor palette, are on view at Alastair Mackinven’s latest exhibition at Reena Spaulings.

Allegorical, surreal, and tender paintings and works on paper from the late artist Hugh Steers are on view at Alexander Gray Associates.

Dia’s recent acquisition of works by Charles Gaines forms the basis of this survey, which includes the artist’s first forays into mathematics-based grid drawings and other early experiments in medium and form.

In “CRAWL SPACE,” artists Kristen Wentrcek and Andrew Zebulon collaborate to create a surreal visual landscape drawn from hidden infrastructures that exist just beyond the surface of daily life.

At Hauser & Wirth, Paul McCarthy presents new drawings, paintings, sculptures, and sound art that explores the mechanisms of power, politics, fascism, desire, and history.

In Paul Anthony Smith’s second solo show at Jack Shainman Gallery, the Jamaican-American artist presents a group of picotage prints that delve into his Caribbean heritage.

In Jordan Kasey’s third exhibition at Nicelle Beauchene Gallery, the artist fills the gallery with eight large-scale paintings, all roiling with drama and atmosphere.

Mandy El-Sayegh and Lee Bul’s dual investment in meaning through the body, both biological and artificial, is on view in this joint exhibition.

“Montrose VA, 1958-1988” centers what David Byrd considered his magnum opus: a handmade book detailing observations made during a three-decade career as an orderly in the psychiatric ward of a VA hospital.

Eli Ping is invested in how objects function as phenomena, how their forms document their own becoming.

The entire universe of horror and unease in Lucas Blalock’s new works spins out from a single moment that took place in Florida circa 1989.

Riffing on the McKim Mead & White-designed Farley postal building and its sister Penn Station building, three site-specific permanent installations by Elmgreen & Dragset, Kehinde Wiley, and Stan Douglas are installed in the newly reopened Moynihan Train Hall.

A kind of sequel to the iconic film Downtown 81 forty years after the fact, this riotous presentation of artists from more than 25 galleries revamps the concept of “downtown.”

Through more than 20 works on view by Emily Mason, "Chelsea Paintings" highlights an intrinsic part of the late abstract painter's process.

Spread across both Jack Shainman’s gallery locations, “Gordon Parks: Half and the Whole” showcases a 30-year selection of work from the iconic photographer, who documented African American life in the second half of the 20th century.

In her latest show, Margaret Lee’s canvases and installations recall the anonymous accumulations of the city and the tenuousness of its infrastructure.

"Albers and Morandi: Never Finished” surveys two seminal twentieth century painters whose work, despite their formal differences, engages color and form through variations on visual themes.

In Reggie Burrows Hodges’s first New York solo show, the artist brings together a group of new paintings centered on the expression of the human form.

A survey exhibition spanning eight decades—and featuring rarely exhibited materials—“Photographism” sheds new light on the late Irving Penn’s virtuosic career.

Mira Schor returns to Lyles & King in an exhibition showcasing paintings made between 2017 and the end of 2020. Known for her overtly political work, a group of Schor’s more reflective paintings created during the pandemic is also on view.

In "From the Dark Sea," Elizabeth Schwaiger’s first solo exhibition with Jane Lombard Gallery, a shifting dualism occupies the canvas: the moments in which decadence and disaster converge.

Fawn Krieger’s experiments in clay, ceramic, and cement theorize ownership, resistance, pressure, exchange, and displacement in the wake of societal schism.

The Hollywood Hills are on fire in Danny Fox's latest body of work, on view now in "The Sweet and Burning Hills" at Alexander Berggruen.

“Cross-cuts,” Brazilian gallery Nara Roesler’s inaugural exhibition at its new Chelsea location, spans fifty years to spotlight nine of its artists as well as its own history.

A new show at Marian Goodman goes back to beginnings to Multiples Inc., a publishing venture the gallerist co-founded in the 1960s to further democratize art.

The Berlin-based artist duo draws upon two millennia of Chinese texts to stitch together an unruly composite portrait that subverts the ugly stereotypes of Asians.

On view at Tanya Bonakdar Gallery, this exhibition presents work from a particularly productive three-year period of Haim Steinbach's deadpan and associative work.

Through textile, works on paper, video, sculpture, and murals, the works in this group show reconfigures lack into plenty, as it imagines a future generated and maintained by queer, femme and BIPOC people.

With a riotous, wide-ranging style and a fixation on the silver screen, Angela Dufresne’s paintings seem like a forgotten, half-mythic chapter of a particularly raunchy history.

In two exhibitions, the late Joyce Pensato shows signature work from the 1970s and 2000s—some of which has never before been exhibited publicly—as well as a 2012 installation for which she emptied her studio into the gallery space.

Harry Gould Harvey IV unveils new sculptures and drawings in "The Confusion of Tongues!", his first solo show at Bureau.

In a new series of films and portraits, Shirin Neshat draws connections of resemblance, parody, irony, and mutual demonization between the United States and Iran through the imagery and mythos of the New Mexican landscape.

Jessica Dickinson's latest exhibition at James Fuentes interrogates the slow interactions between thought, matter, reflection, and perception over time.

Jane Freilicher’s second solo show at Kasmin—and the first show at the gallery to focus on the late artist’s still lives—features fifteen paintings created between the 1950s and the early 2000s.

Eddie Martinez's latest solo show at Mitchell-Innes & Nash unveils eight new paintings that display his signature style of chaotically rendered—yet decidedly figurative—compositions.

Showing at the Bronx Museum after its controversial cancellation at the Museum of Contemporary Art Cleveland, "The Breath of Empty Space" argues for a new way of looking and attention, and with it, of nuance and empathy.

Kate Pincus-Whitney’s sumptuous dining table spreads evoke the explosive potential of the everyday.

In Hugo McCloud’s third solo show at Sean Kelly Gallery, the abstract artist ventures into figuration with works composed entirely of single-use plastic bags.

“Manifestations” surveys nearly three decades of Matthew Benedict's career, presenting works—which tackle subject matter ranging from the Biblical to the contemporary—that have seldom been on public view.

“Grief and Grievance: Art and Mourning in America” is an intergenerational blockbuster exhibition of more than three dozen artists addressing mourning, commemoration, and loss collectively experienced by Black America.

Works by 14 artists pay homage to the spirit of the late Ray Johnson as they embody a compulsion toward community, a trickster sensibility, and an ease with death alike.

The first major retrospective of her contribution to postwar American art, “Mosaic is Light” presents Jeanne Reynal’s mosaic works of applied tesserae of tile, stone, glass, and shells from between 1940 and 1970.

In Camille Blatrix's first exhibition in New York, the Paris-based artist engages the prevalence of advertising imagery, saturated to the point of becoming its own visual language.

All created during the months of quarantine in his Ridgewood studio, Jack Pierson’s five assemblages on view in a solo show at Kerry Schuss Gallery herald a new direction for his work.

In new works, Mernet Larsen steps outside the bounds of an iconic style honed over a six-decade career.

In Gregory Edwards’ fourth show with 47 Canal, paintings inspired by sojourns around the city imagine the ways that hardware and software have rewired both cities and the ways we conceptualize and move through them.

Jindřich Polák’s gorgeously restored 1963 space drama about a spaceship’s search for life in the cosmos, newly stripped of its cold war-era American edits, chills and excites more than fifty years after its release.

In conjunction with a contemporaneous showing at Karma Gallery, this exhibition traces the early career of the ascendant drag performer, puppeteer, actor, musician, muse, and painter.

Image, lighting, and design object collide in "Lifelike," Hannah Whitaker's second show at Marinaro.

Fifty-three intimate, belabored, and obscured resin-on-wood panels are achingly tender, suggesting the fracture of trauma, in Sadie Benning's first solo show with the gallery.

In Jamaal Peterman’s first solo exhibition in New York, soft bodies—specifically, Black and brown bodies—move through institutions, rendered symbolically as cold, geometric forms.

At Metro Pictures, artist Olaf Breuning strikes a less characteristically playful note in a new series of work that contemplates climate change and animal extinction.

In "Solace," two large-scale sculptures by Marsha Pels explore politics, gender, and global conflict.

United by similar artistic questions—as well as three decades of friendship—Nicole Eisenman and Keith Boadwee's joint exhibition at The FLAG Art Foundation tosses aside conventions of taste in exchange for humor and critique.

Marking the acquisition of a major trove of works, this large exhibition at MoMA traces the ways in which European artists of the 1920s and ‘30s harnessed technological and societal changes to create new kinds of art.

Chapter NY hosts Tourmaline's first solo show in an offsite pop-up space befitting the occasion: namely, a chance to view the artist's widely lauded short film, Salacia (2019).

Mariah Robertson unveils a new group of prismatic photograms in an exhibition at Van Doren Waxter that reveals her experimentation with the medium.

“From a Tropical Space", Titus Kaphar’s first exhibition at Gagosian, features a new series of paintings about Black motherhood and missing children.

“David Hockney: Drawing from Life” explores Hockney’s depiction of five close figures across seven decades in nearly every medium imaginable.

Curated by Bochner himself, “Bochner Boetti Fontana,” on view at Magazzino, considers the formal, conceptual, and procedural links between the works of Mel Bochner, Alighiero Boetti, and Lucio Fontana.

Drawn from the Guggenheim collection, the works on view in “Knotted, Torn, Scattered” respond to the legacy of post-war abstract expressionist painting.

A documentary about renowned philanthropist Agnes Gund premieres exclusively on Film Forum’s virtual streaming service.

The late Hedda Sterne's "Patterns of Thought" constitutes a series of six paintings that marked the artist's turn to geometric abstraction in the 1980s. This exhibition brings this transcendental body of work back to New York City for the first time since 2000.

When the pandemic took hold in early 2020, artists everywhere turned to drawing to make sense of the profoundly changed world around them. A selection of this work is brought together in “100 Drawings From Now,” a group show at The Drawing Center that features new drawings from more than 100 artists.

This three-part exhibition jointly presented by Cheim & Read and Ortuzar Projects unveils multiple series of sculptural works that Lynda Benglis created early in her career—specifically during her first decade of being based in New York City.

Louis Fratino returns to Sikkema Jenkins & Co. in a solo show featuring the 27-year-old artist’s latest paintings.

“Black Vessel”—Theaster Gates’s first solo show in New York—showcases the Chicago-based artist’s wide-ranging practice, with new and recent sound, sculptural, and painted works on view.

kurimanzutto’s latest experimental exhibition takes over a dozen Manhattan phone booths with help from artists including Anne Collier, Glenn Ligon, Jimmie Durham, Patti Smith, Renée Green, Rirkrit Tiravanija, and Zoe Leonard.

Cecily Brown’s solo show at Paula Cooper Gallery presents 13 large-scale semi-abstract paintings that reference not only the annals of art history but also her own considerable oeuvre.

French artist Antoine Catala returns to the written word with his latest exhibition, “Alphabet.” The catch is, nothing about the work is actually written. Instead, ballooning forms of letters swell and shrink, almost seeming to breathe.

Francis Cape's "Here" is an intimate and austere presentation highlighting the artist's new and recent hand-carved wood sculptures and furniture.

Talia Chetrit’s fifth solo show at Kaufmann Repetto revisits the artist’s photography from the 1990s and presents new work from 2020.

Presented by Pace Gallery, David Byrne's "dingbats" reveals 50 drawings that capture various epiphanies, frustrations, and idiosyncratic, often humorous reflections borne the multi-hyphenate performer's experiences of self-isolation during the COVID-19 lockdown.

Leipzig-based artist Rosa Loy unveils new paintings in her first solo exhibition in New York since 2008 at Lyles & King.

The Shed honors Howardena Pindell in a solo show featuring new paintings and a newly commissioned video piece that's been a half-century in the making.

"Aether," as Ted Lawson's first solo show in New York City, reveals a spectrum of new sculptural works—all tinted blue.

For her latest solo show at Canada, Sadie Laska reveals a new body of work that takes the form of 20 unique flags.

John Edmonds’s first museum show simultaneously centers and queers both African objects and photographic representations of contemporary Blackness.

Jordan Nassar's inaugural show at James Cohan—as it delves into two materially divergent yet conceptually interrelated threads in the artist's practice—is aptly dubbed "I Cut The Sky In Two."

“Lip and Neck” marks the debut solo show of Samuel Hindolo in New York, and inaugurates 15 Orient’s new gallery space in Bushwick.

In "Hold the Horizon Close," works by sculptor Paul Gabrielli, the art duo collective LoVid, and multidisciplnary Agathe Snow medidate on the metaphorical boundlessess of where sky meets Earth.

"Dial World, Part 1: The Tiger That Flew Over New York City" brings together eight canvas-based multimedia assemblages realized by the late artist Thornton Dial.

The inaugural Asia Society Triennial, unfolding through multiple media and locales, includes both institutional hard-hitters and New York City newcomers as it lodges a challenge to rising tribalism and appeal for mutual understanding.

“Total Running Time,” a site-specific amalgam of video projections, lightboxes, and photo collage on layers of transparency on paper by Jibade-Khalil Huffman, pushes the idea of performance to and even past its limit, a condition required of Black athletes, celebrities, and artists.

“Nüsschen,” the German artist Isa Genzken’s 14th solo show with Galerie Buchholz, presents the seminal “Schwarzes Hyberbolo ‘Nüsschen’” (Black Hyperbolo ‘Nüsschen’) (1980) alongside related works on paper and a photograph from her “Ohr (Ear)” series.

On view at JTT, "Living Things"—a group show curated by the gallery's director, Marie Catalano—brings together nearly two dozen multimedia pieces by six artists in examining the tiers of meaning that the sentient human mind can often project onto inanimate things.

On view across Lisson Gallery’s two Chelsea spaces, a presentation of work by the lateHélio Oiticica—a renowned member of the Brazilian avant-garde—offerings include the rare chance to experience his fully realized, large-scale Tropicália (1966-67) installation.

Fashion design meets exhibition design in “About Time,” which pairs garments that tell a linear narrative of history with those that disrupt that retelling in celebration of the Met’s own storied past for its 150th anniversary.

Etel Adnan’s second solo show at Galerie Lelong presents a series of tapestries that are reminiscent of the Persian rugs of the artist’s childhood, as well as a new series of oil paintings and a single leporello.

The “20/20” group show at David Zwirner, drawn from the gallery’s program, features a range of work created this year, in 2020.

Sarah Crowner’s third exhibition with Casey Kaplan presents a kinetic new group of large-scale color field paintings.

In "Anatomy of a Flower and Other Studio Experiments," New York-based artist Leslie Hewitt has created a project space through research into the archive, site, and collection at the Carnegie Museum in Pittsburgh.

"ADD SHOT," Whitney Claflin's first solo show at Bodega, brings together an eclectic group of new work—best described as "mostly painting."

The body politic is at play in Sanford Biggers’s solo show “Soft Truths,” from plush textiles works to marble statues which subvert both Greco-Roman and African figurative sculpture alike.

In this solo exhibition of Frank Auerbach’s portraits and landscapes from the last fifty years, favored sitters and landscapes are revisited with the artist’s signature impasto strokes and belabored canvases.

For her third solo show at Marian Goodman Gallery, Julie Mehretu divided her new paintings into two categories: that which she made before the pandemic—and that which she produced while on lockdown. Her starting point? The Book of Revelations, obviously.

“I Am the Object” spotlights a fertile period of far-reaching experimentation by the late artist Jack Whitten in the 1990s.

Shazia Sikander’s inaugural exhibition with Sean Kelly Gallery engages a variety of media to make sense out of interrelated global forces, from capitalism and the climate crisis to politics and the relativity of power.

George Condo’s two-floor solo show at Hauser & Wirth admits us into the cavernous, conflicted, and chaotic space of his own mind during the multi-pronged crises ravaging the nation.

Paul Chan's fifth solo show with Greene Naftali features antic and oblique drawings made to accompany his publisher's new translation of Ludwig Wittgenstein's Word Book.

The artist’s inaugural solo show at Pace Gallery, "Existed Existing" reveals new developments in renowned Abstract Expressionist painter Sam Gilliam’s practice.

In "Heaven Ship," Clark Filio debuts a number of his signature sci-fi inflected oil paintings that meditate on real-world world-building.

A new documentary seeks to better understand the life and times of the late artist David Wojnarowicz.

Multidisciplinary artist Kim Jones’s first show at Bridget Donahue brings together over 50 years of work, including sculpture, painting, and documentation of past performance—and rats.

Featuring work from between 1988 and 1991, “Cartoon Jokes” is the first show dedicated to the large-scale silkscreens appropriating New Yorker cartoons from the high art chieftain of low American culture, Richard Prince.

The 91-year-old painter, sculptor, filmmaker, and installation artist Ida Applebroog continues her body of appropriative work in a series of avian portraits teeming with pertinent political symbolism.

A pioneering figure in revitalizing narrative figurative painting, Nina Chanel Abney imagines a utopian Black space in this solo show.

Teresita Fernández explores the Caribbean archipelago, the first point of European colonial contact in the Americas, as a locus of power, ownership, and conquest.

Jean Katambayi Mukendi’s "Quarantaine," the Democratic Republic of the Congo-based artist’s first solo show in the United States, unveils a series of drawings and a freestanding assemblage work.

Martin Puryear's latest exhibition at Matthew Marks Gallery brings five sculptures presented at the 2019 Venice Biennale to engage lived histories, including a queenly tribute to Sally Hemings.

At Martos Gallery, themes of ruin and rebirth intermingle in a temporally ambiguous landscape influenced by art-duo TARWUK’s memories of Croatia’s struggle for independence in the 1990s.

Through a series of new clay sculptures, Sally Saul probes themes of innocence, sorrow, vulnerability, and mortality during the depths of the COVID-19 pandemic.

In order to enter and subvert a largely European tradition, Salman Toor depicts the intimate and imagined lives of queer diasporic South Asian men engaging in pleasure or pleasure-seeking, as well moments of passivity and alienation.

Roger White's fourth solo show at Rachel Uffner present a new group of paintings that feature subjects as far-ranging as calendars, typography, and plastic containers.

Multi-disciplinary artist Rachel Klinghoffer repurposes collected materials from friends, family, and other personal relationships, making them into sculptural paintings that symbolize her own nostalgia.

Americana—its iconography and occasionally sickly nostalgia—is the breeding ground for new photorealistic acrylic on canvas paintings by Ed Ruscha.

Known for her provocative photographs, Heji Shin’s new series of large-format photographs depicting roosters offers a welcome respite by way of wry critique.

British-born, New York-based sculptor Jesse Wine imagines a constellation of biomorphic sculptures in movement in a dreamscape saturated with the desires and anxieties of city life.

In "Christmas Service for the Forest Pets," Karen Kilimnik sets forth an immersive installation of paintings, sculptures, and photographs made between 1999 and 2020 that transforms South Etna Montauk into an idyllic winter wonderland.

For his first solo show, Dante Cannatella reveals a new series of paintings that reveal vibrant, impressionistic scenes inspired by the artist's native New Orleans—albeit through a decidedly enigmatic approach.

Judy Chicago’s opulent and monumental banners, shown for the first time in the U.S. at this solo show at Jeffrey Deitch’s gallery, engage in a feminist world-building—but can also be read as rhetorical, or even fatalistic.

In Adrian Ghenie’s fourth solo show at Pace, a dozen layered, moody, and gritty canvases and studies made in the past year undermine entrenched ideas of perception.

Sue Williams uses a representational palette that includes not only modern ills but also foundational American symbols in her newest suite of paintings in a decades-long career of social critique.

Originally staged as an experiential video installation in the 2019 Venice Biennale, Hito Steyerl's Leonardo's Submarine has been recreated as a totally virtual experience, accessible via VR glasses or browser.

Cheyenne Julien's first solo exhibition in her native New York unveils recent paintings and drawings that blend portraiture with scenes from daily life in the city—the aim being to underline the Bronx-born artist's subjective impressions of her home.

Nicola Tyson’s latest solo exhibition with Petzel showcases a new series of paintings in which the artist explores the idea of personal transformation.

Known for eerie renderings of sinister figures in domestic settings, Dan Herschlein presents his third solo show at JTT. Titled "Dweller," the exhibition reveals six new hanging works that represent the latest iterations of the artist's distinctive, 3-D plaster reliefs, which blend painted forms into sculptural ones.

For her first solo exhibition in New York City, titled "Artichoke Hearts," Constance Tenvik reveals 12 new paintings depicting individuals—mostly friends and acquaintances—through stylized portraiture. Accompanying the show is an interview with Tenvik conducted by famed author Chris Kraus especially for the occasion.

The celebrated artist Joan Snyder—who initially gained recognition in the 1970s with the debut of her “Stroke” series, which effectively subverted the male-dominated legacy of abstract expressionism—unveils new and recent large-scale canvases in her first solo show with Canada.

From the daily news cycle, to historical events, movements, and periods, the narrative of Western society has been fragmented into digestible, short-term episodes. Amidst the supermarket aisles of histories – packaged, shelved, and discounted – emerge two critical voices who advocate for a much more thorough and uneasy study. Kameelah Janan Rasheed and Yuken Teruya unite in ​Backseat Driver​ to visualize long-term imperialist structures whose survival is contingent upon their imperceptibility.

This group show considers how more profound reflections of culture can exist below surface-level aesthetics of art and design objects that tend to garner mainstream appeal and thereby, while visually pleasing, are often prematurely dismissed as trite among erudite circles.

Lily Stockman’s latest solo show at Charles Moffett consists of nearly two dozen paintings that she completed at home in Los Angeles during the city’s COVID-19 lockdown.

The paintings in Kim Digle’s solo show “Restaurant Mandalas” represent the culmination of a series the Los Angeles artist began in 2008 as a way to reflect on the experience of operating her restaurant, Fatty’s, since launching it out of her studio seven years prior.

Jonathan Berger spent five years investigating love as it manifests outside of romantic contexts: as the culmination of his research, “An Introduction to Nameless Love” synthesizes his findings through six monumental, text-based sculptures, each of which spells out a different story about love as it stems from factors besides romance in relationships.

Bruce Nauman unveils new multimedia works in his latest solo show at Sperone Westwater.

A nightmarish world of transhumanism gone awry is brought to life in Cajsa von Zeipel’s solo show at Company Gallery, featuring nine new silicone sculptures of women.

In her seventh solo exhibition with David Zwirner, Suzan Frecon unveils a new series of her richly textured, minimalist paintings.

"Traveling Light," Harold Ancart's first solo exhibition with David Zwirner to take place in New York, showcases new paintings by the rising art-world star.

Carolyn Lazard unveils new work in "SYNC," the Philadelphia-based artist's first solo presentation.

Surveying work by Luchita Hurtado dating back to the 1960s, "Together Forever" explores the Venezuelan-American artist's penchant for depicting herself in countless paintings and drawings.

On view at Lisson Gallery, "Painting in Process” features a decade’s worth of rarely seen work from pioneering Cuban-American artist Carmen Herrera.

Renowned Conceptual artist Joseph Kosuth returns to Sean Kelly Gallery for his eighth solo exhibition, featuring new works that contemplate language and time—especially how they can manifest in art.

“Arm Measures,” Patricia Treib’s second solo show at Bureau, features new and recent paintings from the Brooklyn-based abstract artist.

New paintings and collages from celebrated Mexican artist Gabriel Orozco—all made during the recent months of the pandemic—are on view at Marian Goodman Gallery.

The fall television season takes an experimental turn with By Faith, a new performance devised by Baseera Khan. During the month-long project, Khan attempts to produce an original television pilot from scratch—all while live-streaming the endeavor to The Kitchen's digital platform, The Kitchen OnScreen.

In this small but bountiful show, the Morgan pulls from its own collection of collages to examine the relationship between Betye Saar’s lesser-known sketchbooks, found objects, and completed works.

Renée Green's first exhibition at Bortolami, "Excerpts," as a survey, brings together a selection of work delineating the arc of the American artist's practice from the 1980s to now.

On view in the gallery and online, Sam Falls’s second solo show with 303 Gallery showcases new paintings and ceramics made using natural materials.

Fish take center stage in Dena Yago’s exhibition at Bodega, which features a series of Big Mouth Billy Bass sculptures alongside a mural inspired by Pieter Bruegel the Elder’s Big Fish Eat Little Fish, a 16th-century allegorical drawing.

Lee Friedlander, a seminal figure in the history of photography, debuts his first exhibition with Luhring Augustine.

For the first time, the Eliot Noyes House in New Canaan, Connecticut, will be the site of a contemporary art exhibition. Work by artists and designers—such as Lynda Benglis, Alma Allen, and Mimi Lauter—will be displayed alongside the Noyes family's original decor.

In "Flowers in the Eye," Swiss artist Mai-Thu Perret unveils new ceramics and tapestries.