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.
Disassembling a washed landscape into shifting sculptural layers. Myeongsoo Kim at Island 83 Gallery.
Using resonant plant still lifes to interrogate the history of witches and their knowledge. Ann Shelton at Denny Dimin Gallery.
The unsettling inversion of dogs wearing human masks. Aneta Grzeszykowska at Lyles & King.
The surreal celebrity of Diana Vreeland in doll form. Greer Lankton at Company Gallery.
A mother’s baptism with a child watching, in the rough textures of burlap and steel. Darja Bajagić in the Forest Passage paired show (with Lionel Maunz) at Downs & Ross.
Adding disorienting geometric interventions to a dense thicket, with an echo of John Pfahl. Laurent Millet at Le Musée de la Chasse et de la Nature in Paris.
The glowing edges of a total eclipse of the sun. Made by an unidentified photographer in 1869, in the Face au Soleil group show at Le Musée Marmottan Monet.
The surreal sameness of seemingly identical Japanese elevator girls. Miwa Yanagi (from 1998) in the Mostly New: Selections from the NYU Art Collection at Grey Art Gallery.
