Disappearing behind the foliage. Jan Rattia at CLAMP.
A cascade of hair and a dangling foot. Jason Langer at CLAMP.
A densely geometric hologram construction, mixing fragmented female nudes and plant matter. Sarah Meyohas at Marianne Boesky Gallery.
The artist’s mother blanketed by expressive chemical overpainting. Dietmar Busse at FIERMAN.
Recasting the motif of “sugar daddy”, via investigations into a Gilded Age sugar magnate and the author Danielle Steel. Sean Fader at Denny Gallery.
The reflective glare of early 1970s Louisiana. Joe Ray at Bortolami Gallery.
Clouded back-to-back skyscapes, like Rorschach tests. Trisha Donnelly at Matthew Marks Gallery.
Interrupting the tropical stereotypes of Caribbean travel postcards. Simon Benjamin at Baxter St at CCNY.
Safe sex allegory in the late 1980s climate of AIDS. Tessa Boffin at Hales Gallery.
A dense grid of model palm tree silhouettes, almost like typography. Bruno V. Roels at Howard Greenberg Gallery.
Dangling prints on gauze, where enlarged body parts surround and shimmer. Pola Sieverding at Signs and Symbols.
Merging two negative silhouettes, creating a mixed echo of location and gender. John Stezaker at Petzel Gallery.
The disorienting doubled reflection of the artist’s mother in the bathtub. Katherine Hubbard at Company Gallery.
Photocopied pigeons transformed into a zine quilt. Pat McCarthy in the Entrance booth at NADA New York.
Photographic transfers to canvas, intricately layered via sculptural cutouts, doubling, and bent back redirection. David Kennedy Cutler in the Halsey McKay booth at NADA New York.
Creating a nuanced dialogue between painted surfaces and photographic color. Kazuhito Tanaka in the Kana Kawanishi booth at NADA New York.
Performatively posing with felt triangles covered with jingle cones, recasting Indigenous traditions and motifs. Maria Hupfield in the Patel Brown booth at NADA New York.
Slippery distortion in angled washes. Marilyn Minter at LGDR.
Flanked by encroaching columns and looking out at the freedom of wide open space. Carrie Mae Weems (from 2003) in the Rear View group show at LGDR.
Doubling and reflecting a nude form via sculptural photomontage. Larry Rivers (from 1970) in the Rear View group show at LGDR.
