Pointing to “here” and “there” to define spatial relationships. Lee Kun-Yong (from 1975) in Only the Young: Experimental Art in Korea, 1960s–1970s at the Guggenheim.
Plaster sculptures made from the artist’s body cavities, which become flattened emptiness when photographed. Kim Youngjin (from 1978) in Only the Young: Experimental Art in Korea, 1960s–1970s at the Guggenheim.
Testing our sense of scale with rephotographed rulers. Sung Neung Kyung (from 1975) in Only the Young: Experimental Art in Korea, 1960s–1970s exhibit at the Guggenheim.
Cleverly matching video images of inclined water with performative movements. Park Hyunki (from 1979) in Only the Young: Experimental Art in Korea, 1960s–1970s exhibit at the Guggenheim.
Hanging drapery, crumpled plastic, and the faint disappearing smoke of a birthday candle. Frances Denny at CLAMP.
Invisible energy transferred from cinder block to lawn chair. Adam Ekberg at CLAMP.
Patti Smith in the warm basement glow of Subterranean Records. Danny Clinch at Jim Kempner Fine Art.
A penetrating stare surrounded by darkness. Man Ray (from 1930) in Seeing Is Believing: Lee Miller and Friends at Gagosian Gallery.
An inverted nude holding a female bust, creating a twist of disorientation. Roland Penrose (from 1940) in Seeing Is Believing: Lee Miller and Friends at Gagosian Gallery.
Giving a corsetry shoot for Vogue an edge of solarized surrealism. Lee Miller (from 1942) in Seeing Is Believing: Lee Miller and Friends at Gagosian Gallery.
Connecting with a pensive Andy Warhol underneath a jumble of papers. Duane Michals (from c1958) at DC Moore Gallery.
Precisely seen poses, in outtakes from the artist’s beach portraits. Rineke Dijkstra (from 1992) at Marian Goodman Gallery.
Closely observing a tangled touch. Paul Mpagi Sepuya (from 2017) in the Friends & Lovers group show at the FLAG Art Foundation.
The wall-filling presence of an oversized head shot, turning the face of a friend into a direct engagement. Thomas Ruff (from 1989) in the Friends & Lovers group show at the FLAG Art Foundation.
Emphasizing division with an open door. LaToya Ruby Frazier (from 2005) in the Friends & Lovers group show at the FLAG Art Foundation.
A rusted blue car and its reflection, energized by a flash lit glow. Todd Hido at Bruce Silverstein.
Squares of color printed on glass sheets, floating like isolated pixels. Liz Deschenes at Miguel Abreu Gallery.
Turning a display container into a subject, where an empty vitrine becomes a definer of geometric space. Sarah Jones at Anton Kern Gallery.
Backstage posing, with a sandwiched layer of urban decay. Gail Thacker, from 1999, at Candice Madey.
Tucking a postcard in the pocket of a Hawaiian shirt. Luigi Ghirri at Matthew Marks Gallery.
