Expressively shifting movement cut into tiles. Ray Metzker at Laurence Miller Gallery.
Ethereal mountains interrupted by tactile scratches. Shao Wenhuan in the Art of the Mountain group show at the China Institute.
A majestic mountain form constructed from tiny apartment buildings, electrical towers, and construction cranes. Yang Yongliang in the Art of the Mountain group show at the China Institute.
Mountaintops shrouded in mist, echoing the aesthetics of 17th century Chinese painting. Wang Wusheng in the Art of the Mountain group show at the China Institute.
Painterly digital composites recalling the image sampling of Rauschenberg. Max de Esteban at Klompching Gallery.
The formal echoes of wet cobblestones and potatoes. Fulvio Roiter in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
A parade of faces organized by portholes. Stefano Robino in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
Turning a tunnel view into a high contrast reflection. Sante Vittorio in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
The swooping lines of draped fishing nets. Ezio Quiresi in the Neorealisimo group show at Keith de Lellis Gallery.
Horizontal layers of sky, stone, and grass. Mariana Cook at Deborah Bell Photographs.
A vertical scroll of bulbous rock textures. Jungjin Lee at Howard Greenberg Gallery.
Using a hot pink man with a shopping cart as an interrupting presence. Manit Sriwanichpoom at Tyler Rollins Fine Art.
A multi-layered archival study of lost time in Palestine and Ireland. Emily Jacir at Alexander and Bonin.
Strips of images embedded in layers of kiln-formed glass. Sara Greenberger Rafferty at Rachel Uffner Gallery.
A swirling vortex of angular painted fragments. Paintings (not photographs) by Irving Penn at Pace Gallery.
Tinting the formal densities of the Hawaiian jungle. Yojiro Imasaka at Miyako Yoshinaga.
The rugged textures of a canvas tent and rocky mesas. Hannes Schmid at Mitchell Algus Gallery.
The unlikely form of a sinuously flexible hammer. João Maria Gusmão and Pedro Paiva at Andrew Kreps Gallery.
Using leaves, pigment, and sun to create massive natural photograms. Sam Falls at 303 Gallery.
The seen and unseen in mirrored protest imagery. Hồng-Ân Trương at Rubber Factory.
