The stretched angles of stepping into a hot tub. Robert Giard at Daniel Cooney Fine Art.
Performative play in the artist’s warehouse studio. Tom Burr at Bortolami Gallery.
Looking down at the action on the floor during a recording session. Isa Genzken (from 1981) in the Dan Graham show at Marian Goodman Gallery.
Turning hoards of clothing into an intricately quilted photo pattern, with cutouts floating above the skewed grid. Frederick Weston at Gordon Robichaux.
Using AI to construct/appropriate a ghostly “photographic” aesthetic. Bennett Miller at Gagosian Gallery.
Nested layers of seeing, photographing, burying, and revealing, with Rome as an ostensible subject. Corin Hewitt in the Evidence of Circumstance group show at Sikkema Jenkins & Co.
Turning a cluster of open mouths (singing, shouting, and otherwise) into a chorus. Christian Marclay, in a group show with Terry Adkins and Kelley Walker, at Paula Cooper Gallery.
Seeing a delicate floral blossom in a shaved cabbage. Chih-Chien Wang at Arsenal Contemporary.
Meditative video portraits of the south shore of Long Island, filled with gradual change and motion. Peter Campus at Cristin Tierney Gallery.
Connecting to the artist’s Ghanaian heritage, by transforming everyday moments into hanging sculptural objects. Lloyd Foster at Anton Kern Gallery.
Using a cowboy-hatted shadow to frame a through-the-window diner view featuring the Statue of Liberty. Danny Lyon (from 1970, for Lewis Hine) at Edwynn Houk Gallery.
Cataloguing women’s bodies (both historical and self-portraits) in thematic reference to Duchamp’s Nude Descending a Staircase. Kim Hoeckele in the ongoing Press Release group show at Storage Art Gallery.
The swirling disorientation of the Yanomami plantain soup offering ceremony. Claudia Andujar at The Shed.
The mod elegance of white, outside the Métro Saint-Michel. Robert Doisneau (from 1969) in The girl in the city: the city and modernity at agnès b Galerie.
The powerfully personal rebellion of cutting hair, during the “Women, Life, Freedom” demonstrations. Maryam Ashrafi (from 2022) in the Barbad Golshiri show at Thomas Erben Gallery.
Printing images of refugee children on reclaimed wood, reversing the tonalities into ghostly silhouettes. JR at Perrotin.
Staccato bursts of code snippets and image fragments wrapped over a textural painterly surface. Chris Dorland at Lyles & King.
The surreal immediacy of being observed. Michel Auder at Martos Gallery.
The intertwined angles of embracing arms, with a nod to Marion Pinto’s pastels. Coyote Park at the Leslie-Lohman Museum of Art.
The tactile threat of sandy eroision. Yiyo Tirado Rivera in the no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria group show at the Whitney.
