In his new work, Amenoff transforms his imagery while retaining his powerhouse color.
In Relative Brightness the canvas transforms into a rippling, luminous field of ever-shifting optical sensations.
Laleh Khorramian fills two galleries with visions from a distant galaxy.
The beautiful, surprising, and thought-provoking sculpture of Dan Devine is formed using a demolished car as a mold.
Siegel’s sculptures recall the great screen actors whose faces projected profound and precise shifts of feeling.
The Milton Resnick and Pat Passlof Foundation has opened with a must-see exhibition of 50 years of Resnick’s work.
Overstreet keeps his references to his African-American heritage and Native American influences oblique.
Colin Brant paints a peaceable kingdom of leopards, orangutans, owls, and parrots.
In his quietly dazzling New York solo debut, Ryan Crotty pushes post-painterly abstraction past the anxiety of influence.
Dagley’s new exhibition at Spencer Brownstone is a case study in sustaining a varied, disciplined investigation of painting as structure and object-making.
In Sigal’s work, seemingly solid things fall apart, dissolve or otherwise evanesce, and fugitive forms gain substance.
Robert Marshall’s dreamlike images are fleeting, fragmentary glimpses out the window of a moving car or train.