Satirical real estate offers for Mexican maquiladora workers. Fred Lonidier (from 1997) at Maxwell Graham Gallery.
Enlarging cardboard box forms into sculptural objects. Lucia Koch at Nara Roesler.
Conceptually straightening a bent tree branch. Allan Wexler (from 2015) at Jane Lombard Gallery.
Growing up in a culture of activist surveillance. Alice Proujansky (from 2019) at Baxter St at CCNY.
A subtle scale-like imprint in soft skin. Arda Asena at Baxter St at CCNY.
Pairing images of glacial rocks with marbled endpapers from atlases and expedition journals. Elena Damiani in the Speed of Stone group show at 601Artspace.
Capturing the disappearing natural habitats of Colombia as unraveling tapestries. Ana González at Sean Kelly Gallery.
Spots of light and spray painted interventions. John Divola at Yancey Richardson.
Creating intermingled layers of prints and overprinted concrete. Letha Wilson (from 2024) in the Banshees group show at Asya Geisberg Gallery.
A confusingly doubled rearrangement. Daniel Rampulla (from 2022) in the Dirt Plug group show at David Peter Francis.
The fleeting beauty of a Syrian boy selling flowers. Ameen Abo Kaseem (from 2024) in the Longing: In Between Homelands group show at Palo Gallery.
The scarcity of water and kids swimming in a crowded half filled pool. Nadia Bseiso (from 2018) in the Longing: In Between Homelands group show at Palo Gallery.
Seeing Lot’s wife in a standing rock near the Dead Sea. Lina Khalid (from 2024) in the Longing: In Between Homelands group show at Palo Gallery.
The reaching expressiveness of outstretched arms. Kandis Williams (from 2021) in the Edges of Ailey group show at the Whitney Museum of American Art.
Channeling the glamour of Billie Holiday. Lyle Ashton Harris (from 2002) in the Edges of Ailey group show at the Whitney Museum of American Art.
Accenting the sinuous shine of Coltrane’s saxophone. Roy DeCarava (from 1960) in the Edges of Ailey group show at the Whitney Museum of American Art.
Cradling a mask with performative reverence. Rotimi Fani-Kayode (from c1989) in the Edges of Ailey group show at the Whitney Museum of American Art.
Capturing evil spirits with a bedspring. Carrie Mae Weems (from 1992) in the Edges of Ailey group show at the Whitney Museum of American Art.
The confident presence of a roaring twenties dancer. James Van Der Zee (from 1925) in the Edges of Ailey group show at the Whitney Museum of American Art.
Twisting and stretching extended nylon into a lurching form. Senga Nengudi (from 1975) in the Edges of Ailey group show at the Whitney Museum of American Art.
Daybook
Daybook is an ongoing visual diary made entirely of notable photographs, a cascade of images seen here and there and deserving of further attention.