Lehmann Maupin

In this exhibition, Niles meditates on personal loss through an exploration of landscape, drawing inspiration from the colorwork of both contemporary painters like Kerry James Marshall and Richard Mayhew and Old Masters like Caravaggio. In these new works, rendered in vibrant, technicolor hues that construct a signature kind of chiaroscuro, Niles finds himself immersed in nature—in the trees of a remote field, near the shore of the sea, bathed in crisp light peeking through bare trees on a sunny winter’s day. “I paint what I know,” states the artist. In this body of work, Niles confronts our personal and collective lived experience during the years following the Covid-19 pandemic, at once emotionally nuanced and overwhelming. Through 11 paintings and a single sculpture—the first of its kind in his oeuvre—viewers encounter intimate spaces and memories. 

through April 13, 2024

White Cube

With a profound fascination for biological science and the natural world, working predominantly in metal, Richard Hunt’s hybrid sculptures are characterised by dualities – that of the natural and the industrial, the surreal and the abstract, the geometric and the organic.

through April 13, 2024

Yossi Milo

The show will coincide with the inclusion of Hofshi’s work in The Anxious Eye: German Expressionism and Its Legacy, a group presentation at the National Gallery of Art in Washington, D.C. On March 23, 2024, Hofshi will participate in a conversation with Shelley Langdale, the National Gallery’s Curator and Head of Modern Prints and Drawings, which will draw connections between the artist’s practice and the historic 20th century works on view.

through April 27, 2024

Karma

Suspended in gradients of night sky or among cumulus clouds, the military planes depicted in Give Up The Ghost are twisted, warped, and deconstructed, their bodies at once hyper-technically rendered and strangely animalistic. These supersonic jets—icons of power and strength—have contracted and expanded, as if rendered fragile and flaccid by the speed, pressure, and heat of the atmosphere. The five canvases on view, which measure over eight feet tall and six feet wide, loom before the viewer, their subjects scaled to evoke the sight of a plane passing overhead. The jets remain identifiable as such despite the artist’s alterations—clinging to realism, lest we drift too far into rapture. Abstracted, devoid of any identifiable landscapes, Marcus’s planes appear at once to defy gravity and threaten to fall out of the sky. Here, the sublime beauty and awe of these gleaming machines is in tension with a palpably menacing atmosphere

through April 27, 2024

Almine Rech New York

On the face of things, stoicism can look a lot like exhaustion. In fact, fatigue, with all its causes and variations, may be our modern-day version of stoicism. Or so we may surmise from spending time with Jess Valice’s portraits: the straight-ahead stare of large hooded eyes, the small tightly-closed mouths, and the massive yet contorted solidity of her figures convey both determination and resignation, poise and detachment. These figures remain resolutely silent in the face of any pain we may imagine them suffering—and we know, everybody hurts. 

through April 20, 2024

Marlborough New York

In their paintings and drawings, Marcel Alcalá—a Mexican American born and raised in Santa Ana, CA—employs a folk style and bright palette, conjuring scenes that straddle fantasy and reality, humor and tragedy. The exhibition’s title, Gallo Gallina, refers to roosters who are born with feminine plumage and are used in cockfighting against their masculine-looking counterparts. In time, the phrase has assumed other connotations, used either as a homophobic slur or to describe a person who looks the opposite of their gender assigned at birth. While several paintings in the exhibition depict the actual roosters, Alcalá uses both the literal and connotative meanings of Gallo Gallina to explore themes of spiritualism and masking, threads which run predominantly throughout the artist’s practice. Drawing on surrealist and impressionist styles, Alcalá’s compositions are at once highly personal yet laden with symbols that allude more broadly to Mexican history, life in Los Angeles, and the queer experience.

through April 20, 2024

Lisson Gallery

Among the central motifs for Elaine Cameron-Weir's first exhibition at Lisson Gallery are the Four Horsemen of the Apocalypse, foretold in The Book of Revelations as harbingers of the End of Days through famine, pestilence, disease and death. A stampede of horseshoes conjoins into a giant, snaking conveyor belt structure dividing the main space, with horseshoe nails and horse leather military garments being woven into other works here, linking, supporting and adorning a complex system of interrelated forms. They also suggest the worlds of horseracing, gambling, rodeos and cowboys or frontiersmen, but could also refer to an impending change in politics according to the ‘horseshoe theory’ – in which both the far-left and far-right are drawn inexorably closer to each other and their extremes.

through April 13, 2024

Anna Zorina Gallery

Shore renders seemingly ordinary moments with vivid majesty. A late night basketball game, a visit to a roadside hot dog joint, a psychic reading emerge from the dense black fabric as if from a dream or memory. These everyday moments take on increased significance when seen through a glowing lens of nostalgia. Capturing these moments with a masterful painting technique elevates the consideration of each scene to a realm of high art.

through April 6, 2024

Lehmann Maupin

Forging an original, Feminist-inflected vision from the very beginning of her career, Lou has consistently challenged and expanded the boundary between the fine and applied arts. She has created figurative, room-sized installations, brightly chromatic sculptures, and mesmerizing minimal canvases, all of which render labor radically visible on both formal and conceptual registers. Over the past fifteen years, the artist has turned her focus to abstraction and repetitive processes to engage with art history while exploring the conceptual and metaphoric potential of certain abiding dualities, from presence and absence to cohesion and disintegration. Each of the works in Woven highlight Lou’s engagement with repetition and focus, as well as her deep understanding of materiality. In particular, her paintings and drawings use pen and graphite to “weave” cloth-like structures on a flat canvas—investigating the possibility of the two-dimensional format for making visible the thought process within repetitive labor.

through March 9, 2024

Pace Gallery

The gallery’s first presentation dedicated to Close’s work since the artist’s death in 2021, this show will feature a selection of paintings, photographs, and works on paper— most of which have never been exhibited before—that reflect Close’s significant contributions to the history of art. Since it began representing Close in 1977, Pace has exhibited each new body of his work, and this upcoming presentation will complete that cycle.

through April 13, 2024

David Zwirner

Bhabha creates layered and nuanced sculptures and drawings that center on a reinvention of the figure and its expressive possibilities. Her formally innovative practice pulls from a wide range of references, from those that span the history of art to quotidian influences such as science fiction and horror films and the makeshift structures and detritus of urban life. Instinctive and rigorous, her work brings diverse aesthetic, cultural, and psychological touchstones into contact with matters of surface, materiality, and formal construction.

through April 13, 2024

Yancey Richardson Gallery

In her sixth solo exhibition at the gallery, Dutch artist van Meene continues her exploration of female identity with 20 photographs made between 2016 and 2023. Many of her young subjects are on the cusp of adulthood and van Meene highlights both the psychological tension and confusion often experienced during these transitional years. Her unique visual language employs an exceptional use of natural, luminous light reminiscent of 17th century Dutch painter Johannes Vermeer. 

through March 30, 2024

Meredith Rosen Gallery

The selection of work in Color Sound consists of abstract compositions on board using  mathematical sequencing of value and tone. Developed through image systems, rather than individual works, Gerstner sought to create constructive images in which form and color were in unity. Fascinated by the effect of color and sound as cultural signifiers, he used the subtle modularity of an image to engage the viewer by combining these strategies with serial principles. This is the first time Gerstner’s work will be on view in New York since his solo exhibition at the Museum of Modern Art in 1973. 

through March 23, 2024

James Fuentes

Exploring the ancestral, colonial, and political codes layered in interior ornamentation, Duran’s paintings are saturated by an electric color palette that gives form to densely collaged compositions. Structured by both organic folds of drapery as well as sharp, jagged forms that resemble fractured stained-glass, Duran makes surprise shifts between the pictorial and abstract. In the same gesture, his work adopts a dense Rococo style—emphasizing the theatrical, asymmetrical, and fantastical—while conjuring symbols of the Transatlantic Slave Trade inextricable to this 18th-century European rubric.

through March 9, 2024

Whitney Museum of American Art

Over the decades the AARON software has created images meant to be executed by drawing and painting devices, as well as visuals for display on monitors or as projections. To generate AARON’s output, Cohen built his own plotters and painting machines, which interpret commands from a computer to make line drawings on paper with automated pens and add color with brushes. Drawn from the Whitney’s collection, this exhibition not only features AARON works, but also highlights the software as the central creative force behind them through screen-based versions of the program and drawings made by plotters operating live in the gallery.

through May 19, 2024

Miles McEnery Gallery

Over the course of the past two decades, Daniel Rich’s paintings have depicted opaque facades and exteriors of politically and socially charged spaces and pictorial architecture. In his most recent body of work titled Parallels, Rich welcomes us inside. This exhibition focuses on unpeopled interiors that resonate with a profound sense of quietude.

through March 23, 2024