Conceptual illusions in masking tape. Igor Eškinja at Scaramouche.
Changing perspectives and watercolor-like shimmers. Gary Indiana at Envoy Enterprises.
Lyrical two-body female nudes. Zanele Muholi in the Irreverent: A Celebration of Censorship show at the Leslie-Lohman Museum of Gay and Lesbian Art.
Mysterious TV screen snapshots of famous women. Type 42 (Anonymous) in the System and Vision group show at David Zwirner.
The ambiguity of blurred voyeurism. Miroslav Tichý in the System and Vision group show at David Zwirner.
The obsessive documentation of a 1960s affair. Günter K. at White Columns.
Ghostly fingers and wispy blue. Josh Brand at Rachel Uffner.
Brash nude body geometries. Ren Hang at Capricious 88.
The tangled limbs of street hockey. Eliot Elisofon at Gitterman.
A workers’ alphabet of sugar cane stalks. Jonathas de Andrade at Alexander and Bonin.
Snowy flatness amid a seaside blizzard. Boomoon at Flowers Gallery.
An eerie mannequin hand poking through the plate glass. Lynn Hershman Leeson at Bridget Donahue.
The ghostly photogram traces of sleep. Lamia Joreige at Taymour Grahne.
Stately interiors disrupted by slashing re-collage. Matthew Conradt at Muriel Guépin.
Waves of intricately woven imagery. Lala Abaddon at Castor Gallery.
Drying laundry under an impossibly ornate chandelier. Michael Eastman at Edwynn Houk.
A burst of flash as a physical force. Michael Snow at Jack Shainman.
A plastic bag full of brash, youthful energy. Lin Zhipeng in The Chinese Photobook at Aperture.
Odermatt-like earnestness from the Traffic Police. In The Chinese Photobook at Aperture.
Bringing photographic flatness to hand molded sculpture. Rachel de Joode at KANSAS.
