Shadows of a leafy branch twisted into a swirling collage of geometric layers. Sandi Haber Fifield at Yancey Richardson Gallery.

Using ducks in Central Park as the subject of a 1969 minute-by-minute duration study. Douglas Huebler in the No More Than Three Other Times group show at Paula Cooper Gallery.

Bird collages documenting a fictitious invasive bird program in Lebanon. Walid Raad in the No More Than Three Other Times group show at Paula Cooper Gallery.

Emptying out and anonymizing the posed romance. Hans-Peter Feldmann at 303 Gallery.

Stepping out of an intricately crafted cut paper carriage. Jasper de Beijer at Asya Geisberg Gallery.

Using the story of Abraham and Isaac as a response to the 1970 Kent State shootings. George Segal in Scenes from the Collection at the Jewish Museum.

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.