An uneasy pile of hands and feet. Henri Cartier-Bresson (from 1929) in room 517: Surrealist Objects in the permanent collection galleries at the Museum of Modern Art.
Underneath a boot sign, seen in reversed tonalities. Florence Henri (from 1931) in room 517: Surrealist Objects in the permanent collection galleries at the Museum of Modern Art.
Grain elevators covered in graphic black. John Szarkowski (from 1949) in room 511: Architecture in the Age of Industry in the permanent collection galleries at the Museum of Modern Art.
A steep angle down from the Bauhaus roof. T. Lux Feininger (from c1929) in room 511: Architecture in the Age of Industry in the permanent collection galleries at the Museum of Modern Art.
The simple formal elegance of hands blocking. Robert Mapplethorpe (from 1980) in room 510: Looking for Langston in the permanent collection galleries at the Museum of Modern Art.
A dancer in sparkling sequins. James Van Der Zee (from 1925) in room 510: Looking for Langston in the permanent collection galleries at the Museum of Modern Art.
The delicate lines of sandy kelp. Edward Weston (from 1930) in room 509: Nature Symbolized in the permanent collection galleries at the Museum of Modern Art.
Turning grasses and water into abstract mark making. Ansel Adams (from c1935) in room 509: Nature Symbolized in the permanent collection galleries at the Museum of Modern Art.
The brim of a hat shadowing active eyes. Max Burchartz (from 1928) in room 514: Weimar Citizens in the permanent collection galleries at the Museum of Modern Art.
Crafting a racing motorcycle from photogram elements. Oskar Nerlinger (from 1925) in room 505: Living in the Age of the Machine in the permanent collection galleries at the Museum of Modern Art.
Immersing herself in the world of an Ohio trailer park. Nikki S. Lee (from 1999) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
A silent stare bisected by a gun barrel. Shirin Neshat (from 1994) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
Bringing a lesbian perspective to the Vietnamese diaspora. Hanh Thi Pham (from 1985) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
Adding Khmer Rouge prison mugshots to the elaborate carvings of Angkor Wat. Dinh Q. Lê (from 1998) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
An appropriate title – “Fist of Fury”. Ching Ming Cheung (from 1979) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
The ’80s hair of Asian American girls in the bathroom. Corky Lee (from 1987) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
Playing with reflected self-portraiture. Ai Weiwei (from 1987) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
Pairing a view from the former World Trade Center with an expanse of enveloping black. Kunié Sugiura (from 1979) in the Legacies: Asian American Art Movements in New York City (1969-2001) group show at 80WSE Gallery (NYU).
Stock car examples, set against isolating backdrops of white. Michael Dweck (from 2007) at Staley-Wise Gallery.
Scattered chamomile flowers on a flare of intense pink. Melanie Schiff (from 2021) in the Here We Leave Solid Ground three-person show at Kate Werble Gallery.
