Photographic emulsion as globular paint. Garrett Pruter in the Visions group show at Judith Charles.

The graceful concrete of the ANZAC memorial draped in camouflage netting. Sharon Ya’ari at Andrea Meislin.

The images before and after the famous Molotov Man. Susan Meiselas in the Re-Framing History group show at Galerie Lelong.

Brighton Beach peaches. Jerome Liebling at Steven Kasher.

A timeless Minnesota screen door portrait. Jerome Liebling at Steven Kasher.

Missing tiles in the bathroom mirror. Katherine Newbegin at Lesley Heller Workspace.

Shifting intermingled lenticular snapshots. Willy Le Maitre at CANADA.

The surface of the sun, via physautotype. Dove Allouche at Peter Freeman.

Cut paper geometries and resulting photograms. Richard Caldicott at Sous Les Etoiles.

Patti Smith on the cover of Annie Leibovitz’ massive new Taschen monograph.

A vertigo-inducing twist of perspective. Pétur Thomsen in the Darkness & Light group show at the Scandinavia House.

Tomatoes in a geothermal greenhouse. Bára Kristinsdóttir in the Darkness & Light group show at the Scandinavia House.

A surreal wax figure skin graft. Herbert List in the Panopticum group show at Robert Miller.

Abstraction as a marriage of painting, Photoshop, and inkjet printing. Jeff Elrod at Luhring Augustine.

Disquieting photographs of books confiscated from Palestinian homes. Emily Jacir at Alexander and Bonin.

A river snaking through a pink cotton candy valley. An accompaniment to Richard Mosse’s video The Enclave at Jack Shainman.

Appropriated VW ads, rendered in 3D, flattened to 2D, and inkjet printed on canvas. Kelley Walker at Paula Cooper.

A clarified swarm of Tokyo commuters. Adam Magyar in the METRO group show at Julie Saul Gallery.

A flattened still life of breakfast dishes and art books. Jed Devine at Bonni Benrubi.

The penetrating gaze of late 1980s Christy Turlington. Herb Ritts at Edwynn Houk.