A pandemic-era caravan of RVs in the desert. Victoria Sambunaris at Yancey Richardson.
Projecting traditional Turkish tile patterns across male nudes. Sarp Kerem Yavuz in Gallery 2 at High Line Nine.
A gathering of ghostly lip imprints, inspired by David Hammons’s body prints. Katherine Hubbard (from 2022) in the Part One group show at Company Gallery.
Turning tangled forms into found sculpture. Robert Grosvenor (from 1990) at Paula Cooper Gallery.
Engagingly disorienting layers of image fragments and sculptural space. Yamini Nayar (from 2022) in the Accrochage group show at Thomas Erben Gallery.
Interrogating the ghostly form of the artist’s own body. Oladélé Ajiboyé Bamgboyé (from the late 1990s) in the Accrochage group show at Thomas Erben Gallery.
Rethinking the colors of Casa Barragán in greyscale shades. Terence Gower (from 2005) in the Color Effects group show at Galerie Lelong.
A single red darkroom lightbulb as a tombstone for the death of analog photography. Alfredo Jaar (from 1988) in the Color Effects group show at Galerie Lelong.
Turning colorful used clothing into an intrusive river through the forest. Rosemarie Laing (from 2017) in the Color Effects group show at Galerie Lelong.
Building unexpectedly personal still lifes from found grocery lists. Nobutaka Aozaki at Marinaro Gallery.
Elegantly layering bookplates into densely sculptural masses. Erin Shirreff in the Reverb group show at Sikkema Jenkins & Co.
Centering Black bodies in a mix of Jacquard weaving, digital printing, and textile collage. Richard-Jonathan Nelson at Yossi Milo Gallery.
Turning clay figures into expressive shadows. Xi Zhou in the hallway at Café China.
Delivering makeup routines like commercial goods in cargo containers. Martha Rosler at Mitchell-Innes & Nash.
Expressive film stills from Elvis’ last New York concert, filled with ephemeral motion. Jonas Mekas at Microscope Gallery.
The gestural looseness of hanging upside down. Mark Cohen (from 1974), in the back conference room at Howard Greenberg Gallery.
The twist and turn of a triple frame. Ray K. Metzker (from 1968) in the Burn It In group show at Howard Greenberg Gallery.
A thick apocalyptic cloud of flaming coke. W. Eugene Smith (from 1955) in the Burn It In group show at Howard Greenberg Gallery.
The moody power of an underneath silhouette. Roy DeCarava (from 1955) in the Burn It In group show at Howard Greenberg Gallery.
An early analog collage, with saturated ink additions. David LaChapelle (from 1986) at Fotografiska.
