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The article focuses on Marc Kokopeli's exhibition, running through March 5, 2025 at Reena Spaulings in Manhattan.

The article focuses on the exhibition of works by Julius Eastman and Glenn Ligon, running through March 22, 2025 at 52 Walker in Manhattan.

The article focuses on the exhibition of Flint Jamison's work, running through March 8, 2025 at Magda Abakanowicz Gallery in Manhattan.

The article presents the discussion on Brian Oakes' solo exhibition, which creatively tackles themes of determinism and randomness through circuit-bending sculptures and robotic installations. Topics include the use of algorithms and sensors in art, the interplay between digital and analog randomness; and the representation of natural forms and processes in Oakes' detailed sculptural pieces.

The article presents the discussion on Anna Rubin's video works, which feature a homing pigeon equipped with a camera capturing a dynamic aerial view of New York City and a thrift store's shelves. Topics include Rubin's nod to Structuralist filmmaking and the historical use of small cameras, the contrast between traditional and contemporary image-making techniques; and the artistic exploration of obsolescence and alternative perspectives in video art.

The article presents the discussion on Win McCarthy's installation at the Francis Irv Gallery, which features a meticulously arranged display of bedding, building materials, and takeout containers, evoking a miniature urban block.

The article reviews an exhibition, Malcolm Morley, at Petzel Gallery, from now through August 2, exploring the evolution of the British-born painter's career from photorealistic works of the 1960s to dynamic sports scenes of the 2000s.

The article reviews an exhibition, "Material World" at Marianne Boesky Gallery, from now through July 26, 2024, featuring works by various artists that explore the tension between superficial appearances and underlying realities through innovative art forms.

The article reviews the exhibition Tabula Rasa at Paula Cooper Gallery, which, through July 26, showcases 23 contemporary artists exploring photography as a conceptual method, featuring works that reference and reinterpret historical images and techniques.

The article reviews the exhibition "Whitney Biennial 2024: Even Better Than the Real Thing" at the Whitney Museum of American Art in Manhattan, New York City through August 11 which features a piece by Navajo artist Demian DinéYazhi, installation by the Los Angeles artist P. Staff, and sculpture by Carolyn Lazard.

The article focuses on "Art at Work," a group show that goes beyond traditional waste management conversations by showcasing artists who have been in residence at sanitation departments across different cities, highlighting their transformative interpretations of societal waste into art.

The article focuses on Carlos Martiel's provocative art exhibition at El Museo del Barrio, featuring powerful works that confront issues of immigration, racism, and bodily suffering, particularly emphasizing the experiences of undocumented immigrants through visceral and unsettling imagery.

The article focuses on installations by the Georgian artist Tolia Astakhishvili at SculptureCenter, which evoke half-remembered ruins and create a plausible yet improbable space filled with towers, boxes, and walls, adorned with delicate clusters of objects and sound works.

The article focuses on Liz Magic Laser, an artist and curator in New York, whose exhibition at Luxembourg + Co. features performances that blur the boundaries between audience and performer, exploring the social norms of events like TED talks and psychoanalysis.

The article focuses on Luigi Zuccheri's exhibition, showcasing his evolution from a conventional modernist to a painter depicting distorted pastoral scenes with hierarchical scale, highlighting topics such as dramatic irony in size portrayal and muddy matter-of-factness in surreal inventions.

The article focuses on Christopher Baliwas's exhibition "Skin 2 Skin," featuring recent wall works resembling Frank Stella's style with brown packing tape overlapped on acrylic panels, highlighting material pleasure and fragmented images from bootleg transfer process involving album covers.

The article focuses on the late Marian Zazeela, a central figure of the New York avant-garde, and her abstract calligraphy, with topics including her collaboration with minimalist composer La Monte Young and the evolution of her technique from casual flair to saturated precision.

The article focuses on Joseph J. Greer's exhibition, highlighting his six wall-mounted, laser-cut steel sculptures that mimic the structure of microchips but evolve into steampunk Swiss army knives, exploring the artist's formal variations within these compositions.