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).

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.

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 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.

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

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.

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 "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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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.

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.

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.

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

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.

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.

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

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.

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

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.

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.

“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.

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.

"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.

“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.

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."

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

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

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

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

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.

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.

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.

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

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.

“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.

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

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.

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.

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.

Debuting to coincide with Cindy Sherman's retrospective at Fondation Louis Vuitton, a new photographic series from the iconic Pictures Generation artist is now on view at Metro Pictures.

In Awol Erizku's solo show, "Mystic Parallax," the artist's symbolically rich visions, which he realizes as multimedia installations, coalesce into an all-encompassing sensory experience.

28-year-old artist Akeem Smith’s first major solo exhibition is on view at Red Bull Arts, a layered love letter to the Jamaican dancehall community.

Eighty-four small photographic prints by artist Matthew Porter are artfully hung salon-style in “This Is How It Ends,” Porter’s first exhibition at Danzinger Projects, the longstanding photo space.

This sprawling group show—featuring work from dozens of artists including Ed Ruscha, Nicole Eisenman, Wangechi Mutu, Raymond Pettibon, and Cecily Brown—surveys the state of drawing in the year 2020.

The layers of interpretation run deep through March (2020), the single piece on view in K8 Hardy’s latest show at Reena Spaulings Fine Art.

Ruben Ulises Rodriguez Montoya’s first solo show is on view at Sargent’s Daughters, featuring a new series of otherworldly sculptures.

The anthropomorphic broom frequently depicted in Emily Mae Smith's paintings over the past six years suddenly—in the new body of work on view in "Kin" at Simone Subal Gallery—appears uncharacteristically somber in reckoning with the grim reality of young adulthood in 2020.

On view at Karma, Henni Alftan’s first U.S. solo show features a number of new paintings by the Paris-based Finnish artist depicting moments both absorbing and quotidian.

Eric Blum’s recent paintings encompass a year of work and is the third solo exhibition with the gallery. Blum uses a unique process – a mixture of inks and wax that permeates layers of silk – to create elusive shapes which, although based on reality, shift in and out of focus. The sheen of the silk, the layers of transparencies, the idiosyncratic forms combine to create an ambiguous space that shift in and out of focus reflecting Blum’s interest in the unreliability of perception.

On view at Susan Inglett Gallery, this show presents a survey of work produced by the late artist Robert Kobayashi out of a tenement building in Little Italy between 1977 and his death in 2015.

Installed in the windows of a building in lower Manhattan—and available to be viewed 24/7—”Window” offers a glimpse at three rare paintings from Chris Martin.

Zach Bruder reveals new and recent paintings in "Gone to Fair," his second solo show with Magenta Plains.

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

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.

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

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.

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.

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.

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.

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

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.

"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.

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.

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

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.

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

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

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

For her second show at Halsey McKay Gallery, Sheree Hovsepian presents a new series of collage-based works centered on black-and-white photographic prints juxtaposed with actual pieces of ceramic, wood, and string—all arranged on black backdrops within walnut frames.

Zak Kitnick’s latest solo show encompasses two distinct yet interrelated series of watercolor-based paintings: “Door,” in which vertically oriented pieces display a motif resembling a backgammon board—and “Table,” in which horizontally oriented compositions center on figures playing games on a table.

Directed by Laurie Anderson, Home of the Brave documents the musician and artist's performance with her band at New Jersey's Park Theater in the summer of 1985. Tonight, Metrograph hosts a live screening of the film via its online streaming platform, where it will remain available to watch on-demand through the end of the week.

Film Forum hosts the New York City premiere of Werner Herzog's Nomad: In The Footsteps Of Bruce Chatwin, a documentary chronicling the German filmmaker's journey as he explores the legacy of his late friend, British travel writer Bruce Chatwin.

As William Scott's first solo show in New York City in more than a decade, "It's a Beautiful Day Outside" surveys the trajectory of the Bay Area artist's practice during the 2010s through a mix of new, recent, and older work in the form of paintings, illustrations, sculptural busts, and a video.

Presented at the gallery as well as through an online viewing room, this exhibition chronicles the rich imagery and varied themes that have emerged across three decades worth of Francesco Clemente's exploration of watercolors as a medium.

Highlighting two distinct approaches to landscape paintings, the latest show at Parts & Labor Beacon's juxtaposes work made by Lucy Dodd between 1966 and 1988 with new and recent paintings by Shara Hughes.

In early April, having left New York amidst the intensifying COVID-19 crisis, Katherine Bradford spent two weeks self-quarantining at her home in Maine. To pass the time, she began experimenting with new materials, creating small paintings by layering gouache and collage on handmade paper. Presented online by Canada, “With love, from Maine” reveals the series for the first time.

The original plan was that Robert Longo's solo exhibition would open at Guild Hall in time for its annual summer gala. But, when COVID-19 forced the East Hampton cultural center to cancel the event, Longo postponed his show and instead helped organize a benefit exhibition in its place.

This year, the Curatorial Fellows of the Whitney Independent Study Program organized their culminating project, “After La Vida Nueva,” as a dynamic digital exhibition, which is presented via an online platform hosted by Artists Space.

Shani Strand’s first New York solo show confronts the history of colonization and industrialization in Jamaica.

Presented on-site at Mitchell Innes & Nash, "P is for Poodle" surveys the Canadian artist collective General Idea's work featuring poodles, including two significant, large-scale installations and a suite of paintings, drawings, and sculptural wall-works.

In “Second Nature,” an online show presented by Almine Rech, Chloe Wise unveils a series of portraits and still-lives she painted while in quarantine.

On view at Situations, "Together & Alone" showcases a selection of the late Swiss photographer Karlheinz Weinberger's little-known body of work.

In his first-ever gallery show, critic and writer Luc Sante unveils a selection of new and recent collages that explore—and in some cases satirize—the visual vocabulary of the past.

In this group show, Karma presents a selection of flower-centric paintings created by more than 50 artists—and likewise representing as many conceptual and stylistic approaches—throughout the 20th and 21st centuries.

Viewable from West 21st Street, Sam Durant’s The Future is Female and Do Good Things! (both 2018) represent two relatively new iterations of the artist’s “Electric Signs,” a series he began in 2001 and for which he duplicates signage photographed at protests staged around the world, from those preserved only through historical records to others that took place within the last few years.

In the adjacent outdoor space surrounding its newly-opened Southampton location, Hauser & Wirth has installed a pair of surrealist granite benches by Louise Bourgeois: Eye Benches II (1996–1997).

Tune into Instagram or Facebook to witness the unveiling of Jeffrey Gibson's Because Once You Enter My House, It Becomes Our House, the first sculpture to debut in Socrates Sculpture Park's "Monuments Now!" exhibition series.

For an online exhibition hosted by Andrew Kreps, Darren Bader presents a digital catalog that, as it unfolds across various, interlinking web domains, highlights conceptual artworks conceived by Bader and offered as editions available for purchase.

This online show features photographs and photography-derived works by more than a dozen artists—including Doug Aitken, Ugo Rondinone, and Karen Kilimnik—whose practices rely on the medium to varying degrees.

Physically and conceptually centered on Tony Cragg's Spectrum (1983)—a landmark piece by the famed British sculptor encompassing a color-coordinated arrangement of plastic detritus as a floor installation—this group show explores how works by 17 artists derive or more fully express meaning through hue.

A medley of big-name artists—Sue Williams, Christopher Wool, and Richard Prince among them—come together in this group show at Skarstedt’s new East Hampton space.

For the East Hampton gallery's inaugural presentation, South Etna Montauk joined forces with Alison M. Gingeras to curate "Painting is Painting's Favorite Food." Through more than 30 paintings and sculptures, the show considers how nearly two dozen contemporary artists engage with art history in their work.

This group show takes its title from W.B. Yeats’s “The Second Coming,” which the Irish poet wrote in 1919 as the Spanish flu ravaged an already war-torn Europe. The mix of abstract compositions and figurative scenes on display touch on themes ranging from romantic intimacy to mundane pastimes to darker visions of isolation and powerlessness.

In “Thalweg,” musician and artist Lisa Alvarado contemplates the politics of borders—and what it means to cross them. On view at Bridget Donahue, the show combines free-hanging paintings and photos with sound and sand.

Presented exclusively online, "Homework" showcases new work by Eddie Martinez. The Brooklyn-based artist began this series of paintings, which are rendered on rectangular sections of cardboard, while on lockdown in New York City due to COVID-19.

For the latest edition of "Outlooks"—a Storm King exhibition series spotlighting emerging and mid-career artists—Martha Tuttle unveils A stone that thinks of Enceladus: an expansive, site-specific installation that places small-scale, hand-crafted glass and marble components alongside naturally-occurring boulders on the sculpture park's premises.

For her third solo show at Essex Street, Park McArthur created a sculpture out of her ventilator's disposable filters as well as a print that reproduces markings from her incentive spirometer, a medical device used to measure the volume of a user’s breaths.

Split between James Cohan's Lower East Side and Tribeca spaces, "STEPS" features new work from Brooklyn-based painter Grace Weaver.

Although this group show’s title points to an extraterrestrial focus, the multimedia pieces on view primarily depict Earth-bound natural landscapes. Presented on-site at 303 Gallery and online, “Alien Landscape” features new and recent work from artists such as Doug Aitken, Elad Lassry, and Stephen Shore.

For its first on-site exhibition post-lockdown, Tanya Bonakdar unveils “Return of the Real” as a group show that celebrates the restored possibility of viewing art in-person, in a public context.

The colorful, geometric configurations for which Stanley Whitney is best-known need hardly remain in politically neutral territory. In honor of World Day for International Justice, the artist unveils new works on paper that expand on his series "No to Prison Life"—titled after Whitney's succinctly-worded objection to the carceral state.

Exhibited on-site at Rachel Uffner, “In Real Life” highlights new and recent works by Sara Greenberger Rafferty and Arghavan Khosravi. The duo initially collaborated on a virtual, joint presentation of their work staged this past spring for Frieze New York Online.

An eclectic mix of artists, with practices spanning painting, film, and installation, are behind the idiosyncratic constellation of work presented in “The Sewers of Mars.”

This show explores how Haley Josephs, Lucy Bull, and Aaron Curry each conceive of their work through the lens of a distinct visual language, created in the context of their respective practices, as a means of immersion in alternate realities.

Nearly three dozen paintings, drawings, prints, and other multimedia wall-works by 25 artists are on view in “Life Still,” a group show that, as it confronts the prospect of imminent demise, takes as darkly farcical a stance as one could expect given the morbid implications of the pun in its title.

Sojourner Truth Parsons’s first solo show with Foxy Production features an array of the emerging Canadian artist’s alluringly cool paintings, which nod to the glitz, glamour, and melodrama of television, 1980s-era advertising, and girlhood.

On view in the gallery space and online, “Screaming into the Ether” presents 20 new paintings by Gary Simmons, whose work explores the insidious ways racial stereotypes propagate—and linger—in American culture.

Though she first gained recognition for her portraits of the Los Angeles LGBTQ community, Catherine Opie has also produced a sizable collection of landscape photography—through which she tends to reveal places in terms that are no less politically charged than her documentation of queer bodies. On view at Lehmann Maupin, a new series depicts the lush but imperiled Okefenokee Swamp on the Georgia-Florida border.

On view at Hauser & Wirth, “Still Standing” presents a survey chronicling Larry Bell's artistic trajectory since the 1970s, with selections highlighting major developments in his practice.

Bringing together work by 16 artists including Rashid Johnson, Borna Sammak, and Anicka Yi, “Friend of Ours” highlights occurrences of trompe l’oeil in contemporary art.

Alex Katz is best known for his cooly seductive portraiture, but starting in the 1960s, the now-92- year-old artist began painting flowers, as a way to capture the movement that he felt was missing in his portraits. This online viewing room unveils a selection of Katz’s latest flower paintings.

After COVID-19 forced New York City into lockdown, Yojiro Imasaka put major projects on hold as urgent deadlines evaporated. Looking over negatives from a recent trip to his native Japan, he became inspired by bird's-eye-view shots of a Northern Japanese forest. In this solo show, Imasaka presents the 50 gelatin silver prints he produced from those images.

An online show presented by Casey Kaplan reveals Sarah Crowner’s drawings in terms of their establishing the aesthetic and stylistic foundation to her wider body of work—as manifested in her paintings.

In this online presentation, Pace brings together a career-spanning selection of the late Peter Hujar's powerful and often erotically-charged photographs. Capturing New York City's art and LGBTQ scenes in the 1970s and early '80s, Hujar left behind a revelatory body of work—an ode to the era's dynamism, joy, and ultimate tragedy.

Weegee helped define the look and feel of modern street photography with his dazzling black-and-white photos of life in New York. “The Human Touch, 1935-1945” highlights achievements from his first decade as an independent photographer tasked with capturing newsworthy moments around the city.

Through nearly 50 works by more than two dozen artists, this online show explores the myriad creative attitudes that inform how animals manifest in contemporary art.

A dozen artists and artist collectives come together for a Tumblr-based online exhibition that "celebrates the eccentric energy, sense of desire, creative fantasy and impulse for freedom that is so passionately felt during adolescence."

Through the work of five artists—Mira Dancy, Dalton Gata, Paul Heyer, Cheyenne Julien, and Erin Jane Nelson—this group show highlights as many distinct manifestations of highly stylized portraiture.

Celebrated for her intricate video and installation works, Camille Henrot tends toward complex artistic visions that cannot feasibly be confined to a canvas. But during months of social distancing, Henrot discovered painting to be a psychic reprieve.

Nearly 20 artists—from Cy Twombly and Marcel Broodthaers to Jenny Holzer and Richard Prince—are behind the array of work featured in this online group show exploring the role of text in visual art.

A group show brings together self-portraits from nearly 30 contemporary artists. Rather than focusing on superficial accuracy, curators Patty Horing and Deborah Brown chose works conveying each artist's sense of "self"—that is, as a metaphysical concept rather than a literal depiction.

The title of Mike Nudelman’s exhibition implies the possibility of something more to come. Indeed, many of the ballpoint pen drawings in this solo show depict worlds beyond our own—taking shape as UFOs glimpsed in the sky.

In this two-part online exhibition, GRIMM and Van Doren Waxter showcase new and recent paintings and works on paper by Volker Hüller, who is known for his depictions of mythical and historical allegories as well as personal narratives using modernist visual devices.

Forging ahead during lockdown, the project-driven, anti-gentrification platform We Buy Gold tapped painter Nina Chanel Abney as the curator for its fifth show. Staged online, the aptly-named "Five" presents video works by 11 Black artists including Sondra Perry, Nick Cave, Jacolby Satterwhite, and Solange Knowles.

In his online solo exhibition, Daniel Gordon debuts 30 prints that depict casual domestic scenes, each littered with commonplace items—but this mundane subject matter, upon closer inspection, dissolves into countless visual anomalies.

Unfolding to the beat of DJ April Hunt's original set, this one-night-only event commences with the premiere of a new video piece by Rashaad Newsome before gradually escalating toward mutually expressed "radical joy" in "defiance of oppressive systems."

Postponed due to the COVID-19 crisis, Billy White's second solo show at Shrine opened early this summer—several months later than intended. In light of recent events, however, the paintings on view in "This is a Show by Billy" take on a new layer of meaning.

Presented by 303 Gallery, this online show features a selection of work by Mary Heilmann made between 1985 and 2018.

Elizabeth Ibarra’s first solo show with Rental Gallery also marks the first formal presentation of the Los Angeles-based artist’s work in the United States outside of California. On view in East Hampton, her paintings depict a cast of brightly-colored extraterrestrials who are delightful to behold—though who are themselves hard to read.

Completed in the summer of 1975, Bruce Conner’s "DECK" drawings ushered in the artist's expansive "INKBLOT" series, which he would revisit throughout the remainder of his career. This show brings all of the "DECK" drawings together for the first time.

This virtual show on the work of Maria Lassnig delves into the late artist's preoccupation with her physical state—what was to her a conceptual approach she called "body awareness."

An online solo presentation featuring new work by Ugo Rondinone, "Mattituck" gathers a series of watercolor paintings depicting the view from the artist's studio on the Long Island Sound.

Created by Elizabeth Peyton, this exclusively web-based project takes visitors on a visual journey while playing on the age-old theory that time unfolds in an infinite circle.

This online show highlights pivotal developments across the late Swiss artist Heidi Bucher's body of work. Front and center are examples of her most iconic series, "Skinnings," which consist of expansive latex sheets that Bucher would cast on architectural surfaces—the first template having been her studio floor in 1976.

Three pivotal sculptures made by Nam June Paik between 1988 and 1997 are the focus of this virtual show. Paik believed it was his mission as an artist to reconcile technology and culture. Being among the last major pieces he produced before he suffered a debilitating stroke, these represent the culmination of his vision even as they hint at ways he may have wanted to realize it more fully.

Organized by Fortnight Institute, this online group show includes paintings, prints, and photography-based pieces that, primarily using line and color, create a palpable, "maelstrom"-like energy.

Expanding on themes from his fall 2019 solo show "Love's Dimension" at David Lewis Gallery, Greg Parma Smith unveils this series of drawings, which he conceived of and completed while quarantined at home with his family.

Hosted by Gavin Brown’s enterprise, this online show offers the rare opportunity to view a collection of highlights from Joan Jonas's expansive career all in one place

This of-the-moment exhibition is staged on the roof of Josh Smith's Brooklyn studio. As Smith puts it, it's "a gallery show for a gallery that's not physically accessible because of our collective isolation."

The late Barkley L. Hendricks may be best known for his magnetic portraits of Black Americans. Early in his career, however, the artist extensively experimented with the use of basketball imagery as a formal device in the context of minimalist painting.

Intended as an "homage to New York" during the COVID-19 crisis, this exhibition documents a period of rapid industrial growth in New York City—and highlights how early modernism stylistically informed American artists as they captured scenes from this era.

To foster a sense of community during the COVID-19 crisis, Maurizio Cattelan conceived "Bedtime Stories" as a digital audio series in which artists read from chosen texts aloud.

Having debuted at 47 Canal in 2018, Upon Leaving the White Dust is Cici Wu's homage to White Dust From Mongolia (1980), an unfinished film by the late Theresa Hak Kyung Cha. Echoing Cha's process, Wu planned the installation with a storyboard, parts of which are on display for the first time in this online show.

This show unearths nearly 20 paintings by Giorgio Griffa that the artist had kept folded up in storage since the 1990s.

This group show brings together photographic self-portraits that, dating from 1969 to present-day, were made using a range of tools—from the Polaroid camera to the iPhone.

Presented by Galerie Lelong and P•P•O•W, "Irrigation Veins" juxtaposes the creative trajectories of Ana Mendieta and Carolee Schneemann, narrowing in on a time frame when both women, working separately, came into their own as artists elevating the aesthetics of radical feminism.

Jackie Klempay, owner and director of the New York gallery Situations, curated "Strange Days: Hit Pause" for White Columns Online.

Staging a custom-built website as an online viewing platform for the occasion, Alan Prazniak reveals a new body of work in “Modern Country,” his fourth solo show with Geary.

Realized by Darren Bader, Inventory is a platform designed to promote and facilitate the selling of artworks that galleries have in storage—that is, within their respective inventories—during the COVID-19 crisis.

Though Neïl Beloufa's Screen Talk—an online game based on a satirical mini-series Beloufa produced in 2014—challenges players to navigate a fictional global pandemic, the project was filmed in 2014. That means the story's glaring parallels to the real-life COVID-19 pandemic are coincidental—albeit eerily so.

For his first solo show at Bureau, Brandon Ndife unveils new sculptures in which organic detritus, from corn husks to dirt, appear to encroach upon man-made items, such as cabinets and plates, in states of disrepair. While decomposition prevails in the end, in its aftermath emerges a beginning.

For his debut at Luhring Augustine, Richard Rezac presents new and recent sculptures mounted on the gallery's walls, floor, and ceiling. Rezac's finished pieces tend to cut sleek, angular silhouettes that suggest they belong squarely under the umbrella of geometric abstraction. Less apparent—but more compelling—is how the Chicago-based artist imbues these structures with countless details that nod to art, architecture, and design history.

A menagerie of paintings draws on animal forms as source material. Big cats to crocodiles to humans and more exist on-canvas in a variety of habitats, natural and unnatural alike.

On the occasion of the Museum of Modern Art’s landmark Donald Judd retrospective, Gagosian unveils a rarely-exhibited untitled piece from 1980 that, spanning 80 feet across, holds the distinction of being the late artist’s largest individual plywood sculpture.

As Jennifer Bolande’s first solo show in New York since 2008, “The Composition of Decomposition” presents a body of work that highlights the role of newspapers in shaping collective narratives of historical events.

Jean-Frédéric Schnyder's eighth solo exhibition with Galerie Eva Presenhuber presents more than 40 paintings made by the multi-hyphenate Swiss artist between 1970 and 2000 as well as an installation piece from 2014 that contains functional lamps fashioned out of banana cartons.

Presented at Jeffrey Deitch in collaboration with Magenta Plains, "Entertainment Erases History" surveys the influential body of work created by Peter Nagy between 1982 and 1992 in New York, where he was immersed in the city's booming art scene.

Since the late 1950s, Gene Beery has produced a sweeping and multifaceted body of work—albeit one prone to prolonged stretches of obscurity in between bouts of distinction. In time for Beery's latest resurgence, this survey of more than three dozen paintings demonstrates the conceptual artist's use of language to dynamic and droll ends.

On view at Greene Naftali, a collection of recent drawings by Rachel Harrison tests the limits of transference and antiquity as thematic anchors to her work.

On view at Gladstone’s uptown project space, “Honey Pie” features new work by Sarah Lucas. As a continuation of her “Bunnies” series, which the British artist began in 1997, this group of bronze and “soft” sculptures conjure a jumble of limbs, among other human-like appendages—imagery echoed throughout Lucas’s practice.

In "Psychomachia," Rochelle Goldberg reveals a body of work inspired by Mary of Egypt, an early Byzantine Empire-era saint who fled a life of sin to find salvation in the desert.

An art handling gig brought Al Taylor to Hawaii. It was 1987, and the nearly 40-year-old artist had opened his first-ever solo show in New York the year prior. Perhaps the paradisiacal atmosphere compounded the excitement stemming from his big break—in any case, Taylor became enamored with the state. This show explores its influence on his work over the following decade.

Since beginning his "Puppy Paintings" series in 2010, Sebastian Black has reimagined countless dogs as geometric semi-abstract motifs. Not a moment too soon, for "Local Warming" the Brooklyn-based artist trained his attention on cats—here, rendered in oil-on-canvas as seen through a thermal camera.

Thaddeus Mosley draws inspiration from jazz for his heroic, gravity-defying wood sculptures. In his first show at Karma, the 94-year-old artist brings together work that reflects his enduring fascination with—and mastery of—raw wood as a material.

Through the six photographs comprising “The Seasons,” Paul Graham nods to a painting series of the same name by 16th-century Flemish artist Pieter Bruegel. Whereas Bruegel’s works depict rural life in Northern Europe, however, Graham’s photographs reveal scenes from New York City’s Park Avenue—specifically, outside the headquarters of major banks.

In “Oaks of Righteousness,” Alex Chaves unveils paintings that consider an array of primarily female subjects through the lens of various character tropes—from warriors to seductresses to “sleeping beauties” and beyond.

Bringing together more than a dozen recent, large-scale sculptures, "Skirts" marks Arlene Shechet's first solo show at Pace.

Jeanette Mundt’s solo debut at Company Gallery is also, notably, her first presentation of any kind in New York since last year’s Whitney Biennial, which featured one of her paintings. "Still American” presents new work in which the artist manifests a variety of art historical tropes—if only to depict the resulting scenes at different stages of fiery annihilation.

The moon. An iPhone 11. A Jodhpur forest lit up in brilliant pinks and purples. In the 21 paintings in “Earth Bound,” Leidy Churchman delivers no less than 21 distinct scenes—often embracing thematic disparities through stylistic contrasts. If the show has a universal language, it’s Churchman’s mastery of their medium.

Artists Space opens to the public for the first time since New York City’s COVID-19 lockdown began with Jana Euler’s “Unform,” the German artist’s first institutional solo show in the United States.

For her solo debut at Bortolami, Rebecca Morris presents a new series of large-scale paintings alongside recent watercolor-and-ink-based works on paper. Together, the pieces on view capture an array of aesthetic outcomes resulting from the Los Angeles artist's ongoing experiments with form, color, and texture.

On view at the gallery and online, “Switch Back,” as conceived by Jane South, reveals the culmination of an experimental digression from the usual scope of her practice: namely, as a series of soft sculptures. Made of materials like canvas, tarp, and packing foam, these pieces stand in stark contrast to the elaborate, machine-inspired paper-and-wood fabrications that have dominated her work in the past.

The portraiture show “Jordan Casteel: Within Reach” is a testament to the shared lexicon of private gestures and the closeness that can be carved out of public spaces.

A major retrospective on Peter Saul showcases more than 60 paintings made by the New York-based artist since the 1960s.

Don Van Vliet is best known for the music he recorded as Captain Beefheart from the 1960s to the early '80s. But the late artist left behind a trove of paintings, some of which are on display at Michael Werner, in the first exhibition of Van Vliet's work in more than a decade.

As Chloë Bass's first solo institutional presentation, "Wayfinding" consists of 24 site-specific sculptures—manifesting as public signage—stationed throughout Harlem's St. Nicholas Park.

At the High Line, two public sculptures, one each by Lara Schnitger and Sam Falls, are holdouts from “En Plein Air,” a group show that initially opened in spring 2019 with newly-commissioned, site-specific pieces by eight artists—but, with the close date set for March 2020, the de-installation was cut short following the descent of COVID-19 over New York City and the subsequent lockdown. As a result, Schnitger’s and Fall’s respective works still stand.