|Holly Coulis at Klaus von Nichtssagend on the LES. The images are way more vibrant in life, and you can see them here: Gallery Link
|The table top sculptures as a direct translation of the painting feel absolutely right.
|The sculptures visualize space as the glimpses of objects when suddenly seen strange.
|At Derek Eller, Nicole Cherubini in Full Moon, her debut there. Gallery Link.
|Making is exposed: medallions clamped on vases, stacked pedestals, and
|Chairs, reconfigured as objects of contemplations that leave one inexplicably staring into their inviting recesses, inverting the process of sitting down with looking in at breathtaking glazes.
|Like canvas, chairs provide a predictable and familiar format Cherubini upends with her material decisions.
|Diane Simpson, whose solo room on the Whitney's first floor at the Biennial dazzled with its theatrical, yet domestic displays, shows the collograph apron Armour, 1976, in the superb Making Knowing: 1950-1919 on view there now. Museum Link
|A femmage by Miriam Schapiro! The Beauty of Summer, 1973-4.
|In 1972 she began to embrace the flowers, patterns, and feminine influences in her work.
|Betty Woodman's Hydrangeas, from 1987
|Mike Kelly's More Love Hours Than Can Ever Be Repaid
|Thomas Lannigan Schmidt.
|Thomas Lannigan Schmidt
|Rosie Lee Tompkins, Three Sixes, 1986, quilted polyester double-knit, wool jersey, and cotton
|Jordan Nassar, A Lost Key, 2019, hand embroidery on cotton and wood frame
|Kahill Robert Irving, 100s, 2018 - the firing of money
|Liza Lou's epic Kitchen - such a simple idea and a transformative process
|Through kitchen window
|Then a mirrored piece by Nick Mauss, Images in Mind, 2018
|But the real surprise in a different conflation of flat and real space at the start of Rachel Harrison's survey.