The aesthetic ambiguity of soldiers in Afghanistan. Heji Shin (from 2020) in The American Friend at Downs & Ross.
Connecting imagery with open-ended schematics. Nina Hartmann (from 2022) in The American Friend at Downs & Ross.
The cluttered aftermath of drinks, seen with up close engagement. Calla Henkel and Max Pitegoff (from 2014) in The American Friend at Downs & Ross.
Reconstructing a female body with uneasy multiplicity. Penny Slinger (from 1969/2021), in the library at Pace Gallery.
The elemental forms of poppies on a shelf. Regina DeLuise at Rick Wester Fine Art.
Faces drifting into blur, covered with intricate dot patterns. Sebastiaan Bremer at Edwynn Houk Gallery.
Hiding January 6th US Capitol rioters behind retroreflective television color bars. Hank Willis Thomas at Jack Shainman Gallery.
Playing improvised cricket amid the hulking electrical towers. Jonas Bendiksen in the Kafala: Migrant Labor in the Arabian Peninsula group show at Apexart.
The up close intimacy of assisted stretches on the couch. Daniel Terna at Jack Barrett Gallery.
Fleeting motion reduced to warm color. Matthew Placek at Baxter St at CCNY.
Layered shadows and a slasher horror aesthetic. Marti Wilkerson at Participant Inc.
The cosmic textures found at the bottom of a rice cooker. Jun Nguyen-Hatsushiba at Mizuma & Kips.
The artist’s signature flower pot floating through space. Jean Pierre Raynaud at Bienvenu Steinberg & J.
Representing post-colonial grief in collage form. Marcia Kure at Susan Inglett Gallery.
Pulling water from a well in drought stricken Ethiopia. Lynsey Addario (from 2021) at the SVA Chelsea Gallery.
The imposing visage of J.P. Morgan, emerging from the surrounding darkness. Edward Steichen (from 1903) in the J. Pierpont Morgan’s Library: Building the Bookman’s Paradise show at the Morgan Library and Museum.
Texture and shadow inside a gas tank. Ernst Scheel (from c1930) in the second floor hallway at the Met.
The flattened perspective of an oil tank and an angled ladder, with a worker perched at the top. Tina Modotti (from 1927) in the second floor hallway at the Met.
A far off figure, as seen through the receding geometric lines of a train bridge. José Martínez Sánchez/Juan Laurent (from 1867) in the second floor hallway at the Met.
Collaboratively exploring the in-between lives of Moroccan immigrants in Spain. Felipe Romero Beltrán at Baxter St at CCNY.
