Extending lines, angles, and textures in a painted photocollage. Mary Lum at Yancey Richardson Gallery.
The seduction of a cat eye glance. Mark Morrisroe (from 1984) in the Camp@Clamp group show at ClampArt.
Decorating a stylized portrait of Lindsay Kemp with tiny fragments of his own face. Mick Rock in the Camp@Clamp group show at ClampArt.
Creating an optical illusion with a ball and a corner, using Francesca Woodman as a model. Anita Thacher (from 1980) at Microscope Gallery.
Seeing the surreal strangeness in the form of an armadillo. Dora Maar (1936, from France) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
A doubled persona in a checkerboard shirt. Claude Cahun (1928, from France) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Using black overpainted ink to redefine, flatten, and obscure. Fernando de Azevedo (1950s, from Portugal) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Turning sticks and shadows into densely layered netting. Cecilia Porras and Enrique Grau (late 1950s, from Colombia) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Post-war luxury confronted by a snarling wolf in the waves. Toshiko Okanoue (mid 1950s, from Japan) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Pushing photocollage toward something approaching additive portraiture. Jorge Cáceres (late 1930s, from Chile) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Paying tribute to the silent film era, with layered stills that intermingle faces and film clips. Chris Marker at Peter Blum Gallery.
Incisively re-imagining John Divola’s “As Far As I Could Get” as a Black man running between a swapmeet parking lot and a liquor store. William Camargo in Zora J. Murff’s show at Baxter St at CCNY.
Layering collaged gestures and echoed lines, via ballet bodies in Black and white. Kandis Williams at David Zwirner/52 Walker.
The tenderness and intimacy of touch, as part of a haircut. Isaac West in the INWARD: Reflections on Interiority group show at the ICP.
The elegantly sculptural twist and pull of arms and hands inside fabric. Djeneba Aduayom in the INWARD: Reflections on Interiority group show at the ICP.
A color and texture story featuring blue braids, a green garage door, and light pink pleats. Arielle Bobb-Willis in the INWARD: Reflections on Interiority group show at the ICP.
Wispy arm gestures echoed by layers of tactile circles and curves. Sarah Moon, for Yohji Yamamoto in 2019, at Fotografiska.
Capturing the stylishly dapper cool of the Islington Twins. Janette Beckman at Fotografiska.
An eerie self-portrait with an embedded “AIDS is Killing Artists” message. Lola Flash in the second floor lobby at MoMA.
Building new associative collages (like this one of handshakes) from image folders housed in the NYPL’s Picture Collection. Taryn Simon at the New York Public Library.
