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.
Layered geometries in dark and light, sewn together by electrical wires. Thomas Struth (from 1986) in room 203 of MoMA’s permanent collection galleries.
A mother/daughter double portrait, linked by strings of African beads. María Magdalena Campos-Pons (from 2001) at the Brooklyn Museum.
Using crumpled paper to create a starburst of flares and shadows. Sheila Pinkel (from 1974-1982) in the third floor lobby at MoMA.
Hanging leashes in an Amsterdam window display. Ed Ruscha (from 1961) at MoMA.
Tucking an imprisoned portrait in a wide swath of black suede. Sable Elyse Smith (from 2020) in the Going Dark: The Contemporary Figure at the Edge of Visibility group show at the Guggenheim.
