The wispy forms of kites in the wind. Sally Gall at Julie Saul Gallery.
The gnarled sculptural form of junk yard debris. Stephen Mallon at Front Room Gallery.
Photographs of the artist’s hands as raw material for painterly geometric patterns. McArthur Binion at Lehmann Maupin.
Beds placed outdoors echoing the fragile freedoms of the minority Uyghur people in Western China. Lisa Ross at Miyako Yoshinaga.
Filtering Monet’s water lilies and adding distortions of time. Michele Abeles in the Pastoral (Grid and Drone) group show at 47 Canal.
Projecting photographic slides on top of a floral watercolor. Ger van Elk at Grimm Gallery.
Reducing architecture to primary geometries. Günther Förg at Hauser & Wirth.
The unexpected graphic boldness of 19th century firing range targets. Hugo van Werden in the Anticipating the Modern group show at Hans P. Kraus Jr. Fine Photographs.
Juxtaposing a future golf course with UNHCR tents and barbed wire. Mikhael Subotzky in the Borders group show at James Cohan Gallery.
Rearranging puzzle pieces to create conflicted hybrid photographs. Hank Willis Thomas in the Borders group show at James Cohan Gallery.
Burning family photographs to understand the erasure of memory. Fatemeh Baigmoradi in the GRACE: Gender-Race-Identity group show at Laurence Miller Gallery.
A shadowy face off with his own sculpted bust. Jane Evelyn Atwood in the God Made My Face: A Collective Portrait of James Baldwin at David Zwirner.
The overlapping graphic patterns of overhead fire escapes. Ferenc Berko in the 1947, Simone de Beauvoir in America group show at Sous Les Etoiles Gallery.
Wispy dust encrusting a map of Hale County, Alabama. Andrew Moore at Yancey Richardson Gallery.
Occupying a Brooklyn sidewalk like a street gang. Ka-Man Tse at Aperture Gallery.
A spiraling twist of smoky light. Anthony McCall at Sean Kelly Gallery.
Turing a repaired fence into a bold geometric silhouette. Bhupendra Karia at sepiaEye.
The neighborliness of peeking over a fence with a wine glass. Katy Grannan in the At Home: In the American West group show at Aperture Gallery.
Isolating the controlled swirl of Kim Novak’s hair in Vertigo. Jean Curran at Danziger Gallery.
Turning salt production into steep angled Modernism. Harold Haliday Costain at Keith de Lellis Gallery.
