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| Sarah Morris at Petzel. Gallery Link |
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| The urban landscape is designed within the perfectly manufactured surfaces of these paintings. |
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| Tracy Miller at Ameringer, McEnergy, Yohe. Gallery Link |
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| Joyful explorations of raw paint (detail of the above) |
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| Many of the paintings on a small scale, smaller than how I remember her work before -- but somehow the reduction adds to their chromatic range - transparency has to do a lot more work, and does so. |
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| Perhaps an influence as well - the great Helen Frankenthaler, whose contribution to painting will continue to magnify with time. |
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| Annabeth Rosen's debut exhibition Tie Me To The Mast, at PPOW - pure exultation in process, texture, echoing images. Gallery Link |
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| Strange, prehistoric, textural monuments. Loved the surfaces most of all, from an accomplished ceramicist working steadfastly for years. |
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| At DC Moore, Robert Kushner, working in an airy vein in Portraits & Perrenials: Gallery Link |
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| Many collages, on odd surfaces such as mementos from Asia and old newspaper photographs |
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| My favorite. |
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| Kushner installation. |
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| Missed Allison Gildersleeve's Unruly, but saw this painting in the back room at Asya Geisberg. Gallery Link |
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| Detail |
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| Now showing there, Michael Ryan Ford. Gallery Link |
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| Gallery Link Katerina Grosse at Gagosian, last day. |
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| Strange and wild paintings - sprayed, chromatic. The color was hard to take without breaks for neutrals, which her dimensional work would automatically supply. |
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| Beautiful flows of material |
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| and strange breaks of space. |
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| David Humphrey at Fredericks & Freiser in I'm Glad We Had This Conversation. Gallery Link Light, airy, sensitive relationships established throughout the show, rewarding movement. |
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| Print moves, hand-made. |
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| Colliding with alternative applications. |
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| Conversing. Making Sense. |
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| Details like this are lovable. |
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| As are color zones that make alternative spaces and figures possible. |
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| Relating again to the sculpture and base, orange to orange. |
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| David Humphrey, installation view, front room. |
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| Ron Gorchov at Cheim & Reid. Gallery Link |
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| The small, shaped canvas rotate outward, pushing the imagery into space. |
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| More recessive, shell-like imagery as well - on a much larger scale, paradoxically. |
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| Edward Dugmore's 1960s paintings at Loretta Howard. Gallery Link |
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| Detail |
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| Beautiful, topographical works and delicate drawings inspired by western lansdcapes. |
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| Peter Bonner's allover fields and Kylie Heidenheimer's urban grids, paired in Thicket: Gallery Link |
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| Claire Corey's hybrid digital print / painting |
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| Lovely transparencies from Becky Yazdan |
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| Seren Morey's tactile painting |
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| Detail |
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| Raphael Zollinger's wetly applied grounds, wiped down to investigate the stratosphere. |
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| Flowerscapes by LC Armstrong at Marlborough: Signals at Sunset. Gallery Link |
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| These are fully painted paintings, no blank canvas exposed. The internal light comes from glazing and color. |
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| Figures from the artist's life or archetypical pairings populate these fictive terrains, in which flowers become giant witnesses. |
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| Birds and barbed wire, from 2017, a beautiful painting with the sweet cat lower left. |
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| Detail |
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| Detail from a larger work, simple marks creating transparent rhythms. |
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| The multi-panel painting in its entirety |
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| Poetic winter garden, in which the city becomes protagonist or foil for the flowers. |
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| Detail |
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| Detail |
