Direct, vulnerable B/W portraits of swimsuited groups/families and interior nudes. Nikolay Bakharev at Julie Saul Gallery.
Fluttering cut paper leaves fall from a flat image surface of cherry blossoms. Jim Hodges at FLAG Art Foundation.
Gorgeous textures in this Leon Levinstein print, especially the woven hat. In the Staff Picks show at Howard Greenberg.
A seductively elegant Matthew Pillsbury bar scene in the drinking show at Sasha Wolf.
A sinuous sliced landscape in multiple overlapped layers. Sadie Wechsler in the Yale MFA show at Aperture Gallery.
A still life of parallel textures: brick/concrete and rebar/cherry stem/chain link. Marina Pinsky at Scaramouche Gallery.
Erica Baum’s geometric, almost narrative, dog-eared book pages in the Chick Lit group show at Tracy Williams.
A corner pyramid of teenage kissers. Ed Templeton in the Folklore group show at Joshua Liner Gallery.
Jagged layers of distorted green glitches. Sean Dack at Fitzroy Gallery.
Under the hot lights, Ella Fitzgerald loses herself in the music. Herman Leonard’s jazz photographs at Robert Mann.
The bulbous rounded forms of Hans Bellmer opened up, in the Hair and Skin summer show at Derek Eller.
A wall of 1990s era Wolfgang Tillmans, hung amidst the permanent collection of paintings at MoMA.
Jittering, loosely joyful, multiple exposure image of Saigon motorbike cruising. Ed Kashi at Anastasia Photo.
Mysterious colored smoke animates the landscape. Melissa Dubbin and Aaron Davidson in Alchemical at Steven Kasher Gallery.
Great unexpected angle/vantage point in this Bertien van Manen image in the sleep themed show at Andrea Meislin Gallery.
Half landscapes, half birds at the Eliot Porter show at Paula Cooper.
A recent Daniel Gordon constructed face in the anniversary show at Wallspace. Picasso-esque, but still photographic.
Late 80s B/W panoramas of US/Mexico border drop sites. Susan Meiselas in the group show at Galerie Lelong.
Lookalike paired portraits of young women and Egyptian statues. Lorraine O’Grady in Skin Trade at PPOW Gallery.
Quirky late 60s conceptualism – Robert Kinmont’s favorite dirt roads portfolio at Alexander and Bonin.
