Migrant children covered by a shiny blanket. Ronald Pizzoferrato (from 2019) in the Build what we hate. Destroy what we love. group show at Apexart.
The shattered glass of a broken cardboard screen. Thomas Hirschhorn at Gladstone Gallery.
Documenting Los Angeles oil fields with tar-based heliography. Julian Charrière at Sean Kelly Gallery.
The precise mechanical elegance of a sidecut camera. Christopher Williams at Maxwell Graham/Essex Street.
Primary color abstraction, as seen in a prison holding cell in France. Carey Young (from 2023) at Paula Cooper Gallery.
Cleverly using skis to vault across a watery mountain pool. Fernand Fonssagrives (from 1935/2003) at Deborah Bell Photographs.
Burned papers in rich tactile clarity. Adam Fuss (from 2022) in The Stone Age (group show) at Bienvenu Steinberg & J.
Rethinking the view at Prout’s Neck with intermingled “off print” textures. James Welling (from 2015/2023) at David Zwirner.
The fragile delicacy of trapped butterflies. Yang Bowei in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Applying artificial tears. Kanthy Peng in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Traditional motifs interrupted by a fist. Alec Dai in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Reflected arrays of broken eggshells. Zhang Zhidong in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Posing with mannequins. Tseng Kwong Chi in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
A glowing leap through the tall grass. Fang Daqi in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Bold pink eye makeup behind a dance of white and yellow flowers. Mengwen Cao in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Soft color matching between seductive skin and fruit. Lin Zhipeng (No. 223) in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
Performatively biting a bleached skull. Carolee Schneemann (from 1963) at PPOW.
Marking the poverty line with tomatoes. Chow and Lin (from 2010-2020) in room 216 of MoMA’s permanent collection galleries. Further information on the project/photobook can be found here.
Reinterpreting family photographs with projected distortion. Darrel Ellis (from 1990) in room 209 of MoMA’s permanent collection galleries.
Cropped images from vernacular photographs, isolating the possible meanings of a gesture. Lorna Simpson (from 1996) in room 208 of MoMA’s permanent collection galleries.
