The repeating patterns of photocopied pigeons. Pat McCarthy (from 2019) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.
A posed murder victim, used as a source image for a Destroy All Monsters zine. Cary Loren (from 1974) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.
Documenting the Bay Area punk scene in the late 1970s, like this theatrical pose of a man passed out. Jim Jocoy (from 1979) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.
Donut holes and shadow patterns. Mickey Aloisio at Marlborough New York.
Interwoven light patterns captured by holography. Matthew Schreiber at Marlborough New York.
Seeing emoji in ancient natural objects. Michele Oka Doner at Marlborough New York.
A clever conceptual sequence playing with the illusionistic properties of shadows. Keiji Uematsu (from 1976) in room 419 of MoMA’s permanent collection galleries.
Gleefully defining (and inhabiting) a series of women’s archetypes. Martha Wilson (from 1974) in room 419 of MoMA’s permanent collection galleries.
Using rephotography to build a taxonomy of visual relationships. Matt Keegan (from 2016) in room 419 of MoMA’s permanent collection galleries.
A calligraphic squiggle of flying ticker tape. Robert Frank (from 1951) in room 402 of MoMA’s permanent collection galleries.
The surreal colors of a corroded oil spill in the Amazon rainforest. Richard Mosse at Jack Shainman Gallery.
Migrant children covered by a shiny blanket. Ronald Pizzoferrato (from 2019) in the Build what we hate. Destroy what we love. group show at Apexart.
The shattered glass of a broken cardboard screen. Thomas Hirschhorn at Gladstone Gallery.
Documenting Los Angeles oil fields with tar-based heliography. Julian Charrière at Sean Kelly Gallery.
The precise mechanical elegance of a sidecut camera. Christopher Williams at Maxwell Graham/Essex Street.
Primary color abstraction, as seen in a prison holding cell in France. Carey Young (from 2023) at Paula Cooper Gallery.
Cleverly using skis to vault across a watery mountain pool. Fernand Fonssagrives (from 1935/2003) at Deborah Bell Photographs.
Burned papers in rich tactile clarity. Adam Fuss (from 2022) in The Stone Age (group show) at Bienvenu Steinberg & J.
Rethinking the view at Prout’s Neck with intermingled “off print” textures. James Welling (from 2015/2023) at David Zwirner.
The fragile delicacy of trapped butterflies. Yang Bowei in the (In)directions: Queerness in Chinese Contemporary Photography group show at Eli Klein Gallery.
