Peeling back the wispy angles of prickly interior pressure. Jimmy DeSana in Ray Johnson: WHAT A DUMP at David Zwirner.

The textural abstraction of scanned textiles mounted to IKEA tables. Cory Arcangel at Greene Naftali Gallery.

The ghostly presence of memory jug X-rays. Terry Adkins in Grief and Grievance: Art and Mourning in America at the New Museum.

Dramatically restaging the assassinations of the Civil Rights movement. Carrie Mae Weems in Grief and Grievance: Art and Mourning in America at the New Museum.

Pairing a blurred, anonymous face in a hoodie with Michael Brown’s police report. Carrie Mae Weems in Grief and Grievance: Art and Mourning in America at the New Museum.

The destroyed doctors’ offices of Braddock hospital. LaToya Ruby Frazier in Grief and Grievance: Art and Mourning in America at the New Museum.

The muted mood of stained wallpaper. Deana Lawson in Grief and Grievance: Art and Mourning in America at the New Museum.

Isolating the tropical backgrounds of prison Polaroids. Sable Elyse Smith in Grief and Grievance: Art and Mourning in America at the New Museum.

Paired portraits thoughtfully marking time from the 1963 16th Street Baptist Church bombing in Birmingham. Dawoud Bey in Grief and Grievance: Art and Mourning in America at the New Museum.

Revealing an image of a police dog attack from the 1965 Watts Rebellion underneath the crinkled opening of a dark foil wound. Mark Bradford in Grief and Grievance: Art and Mourning in America at the New Museum.

A poetic encounter in a shadowy sea of flowers. Mark McKnight at Klaus von Nichtssagend Gallery.

Giving a painterly surface to the layered chaos of an enveloping digital environment. Chris Dorland at Lyles & King.

Collapsing architectural memories into a planar 3D hybrid. Krista Svalbonas at Klompching Gallery.

Building a meadow out of a scattering of photographic moments. Terry Evans at Yancey Richardson Gallery.

Photocopying a taxonomy of household objects, the flare of shadowy light giving each a sense of implied energy. Pati Hill in the Nothing is So Humble: Prints from Everyday Objects group show at the Whitney.

Housing photographic transparencies in thick resin, creating an elusive sense of memory. Sadie Benning at Mitchell-Innes & Nash.

Turning nocturnal Times Square imagery into a performative slide show experience. Yuji Agematsu at Miguel Abreu Gallery.

Playing with the provocative double entendre of “Big Cocks”. Heji Shin at Reena Spaulings Fine Art.

Full length nudes in the tradition of Lucas Cranach. Daniel Handal at ClampArt.

Reversing the dynamics of the paired nude. Pixy Liao in the On the Inside: Portraiture Through Photography group show at C24 Gallery.