Adding a handheld camera to a back-of-the-print copyright notice. Jimmy DeSana in Ray Johnson: WHAT A DUMP at David Zwirner.

Arthur Rimbaud climbing through the rotting piers. David Wojnarowicz in Ray Johnson: WHAT A DUMP at David Zwirner.

Peeling back the wispy angles of prickly interior pressure. Jimmy DeSana in Ray Johnson: WHAT A DUMP at David Zwirner.

The textural abstraction of scanned textiles mounted to IKEA tables. Cory Arcangel at Greene Naftali Gallery.

The ghostly presence of memory jug X-rays. Terry Adkins in Grief and Grievance: Art and Mourning in America at the New Museum.

Dramatically restaging the assassinations of the Civil Rights movement. Carrie Mae Weems in Grief and Grievance: Art and Mourning in America at the New Museum.

Pairing a blurred, anonymous face in a hoodie with Michael Brown’s police report. Carrie Mae Weems in Grief and Grievance: Art and Mourning in America at the New Museum.

The destroyed doctors’ offices of Braddock hospital. LaToya Ruby Frazier in Grief and Grievance: Art and Mourning in America at the New Museum.

The muted mood of stained wallpaper. Deana Lawson in Grief and Grievance: Art and Mourning in America at the New Museum.

Isolating the tropical backgrounds of prison Polaroids. Sable Elyse Smith in Grief and Grievance: Art and Mourning in America at the New Museum.

Paired portraits thoughtfully marking time from the 1963 16th Street Baptist Church bombing in Birmingham. Dawoud Bey in Grief and Grievance: Art and Mourning in America at the New Museum.

Revealing an image of a police dog attack from the 1965 Watts Rebellion underneath the crinkled opening of a dark foil wound. Mark Bradford in Grief and Grievance: Art and Mourning in America at the New Museum.

A poetic encounter in a shadowy sea of flowers. Mark McKnight at Klaus von Nichtssagend Gallery.

Giving a painterly surface to the layered chaos of an enveloping digital environment. Chris Dorland at Lyles & King.

Collapsing architectural memories into a planar 3D hybrid. Krista Svalbonas at Klompching Gallery.

Building a meadow out of a scattering of photographic moments. Terry Evans at Yancey Richardson Gallery.

Photocopying a taxonomy of household objects, the flare of shadowy light giving each a sense of implied energy. Pati Hill in the Nothing is So Humble: Prints from Everyday Objects group show at the Whitney.

Housing photographic transparencies in thick resin, creating an elusive sense of memory. Sadie Benning at Mitchell-Innes & Nash.

Turning nocturnal Times Square imagery into a performative slide show experience. Yuji Agematsu at Miguel Abreu Gallery.

Playing with the provocative double entendre of “Big Cocks”. Heji Shin at Reena Spaulings Fine Art.