Museus e Galerias de NYC – Atualizado

New York Times

O The New York Times divulgou uma lista completa de museus e galeris e suas exposições. Acompanhe aqui.


American Folk Art Museum: ‘Eugene Von Bruenchenhein: Freelance Artist — Poet and Sculptor — Inovator — Arrow maker and Plant man — Bone artifacts constructor — Photographer and Architect — Philosopher,’ through Oct. 9. Whether photographing his wife as a sweetly chaste pinup girl; fashioning plant forms from scrounged clay or little thrones from salvaged turkey bones; or making delicate ballpoint-pen drawings or hallucinatory paintings rife with intimations of exotic undersea or sci-fi worlds, this self-taught, self-proclaimed multitasker (as made clear in the show’s subtitle) never wavered in his sense of his own greatness. Mounted 27 years after his death, his first American museum survey doesn’t quite do him justice and especially shortchanges the paintings, but it presents the fruits of his ceaseless labors with a clarity that makes them feel of a piece, and like a gift. 45 West 53rd Street , (212) 265-1040, (Roberta Smith)

Brooklyn Museum: ‘Norman Rockwell: Behind the Camera,’ through April 10. If you think you know all you need to know about Norman Rockwell, think again. This show has more than 100 photographs and 27 paintings and drawings. It is not a surprise that Rockwell relied on photographs to achieve the seeming naturalism of his paintings. While employing professionals to shoot his pictures, Rockwell orchestrated every other aspect of studio sessions. He found and purchased props, recruited models, constructed sets and directed scenes like a Hollywood movie director. He could have been another Frank Capra, director of the inspirational sob-fest “It’s a Wonderful Life.” 200 Eastern Parkway, at Prospect Park , (718) 638-5000, (Ken Johnson)

Guggenheim Museum: ‘The Great Upheaval: Modern Art from the Guggenheim Collection, 1910-1918,’ through June 1. Full of the art that Frank Lloyd Wright’s spiral was built for, this meticulous and spacious installation of modernist gems from the Guggenheim’s admittedly patchy, idiosyncratic collection of early modernist works is a trifle serene, considering its focus. There are masterpieces by Malevich, Mondrian, Chagall and others, as well as works of more purely historical interest that together indicate both the startling innovations of modernism and the challenges these presented for lesser artists. But at times the upheaval in question seems to be unfolding in slow motion, at a remove, with the sound off. 1071 Fifth Avenue, at 89th Street , (212) 423-3500, (Smith)

International Center of Photography: ‘The Mexican Suitcase,’ through May 8. In 1939, at the start of World War II, the photographer Robert Capa fled Paris. Before leaving, he packed up some 4,500 negatives and gave them to a friend to forward to him in New York. The negatives were almost all for images of the Spanish Civil War taken by Capa; David Seymour, also known as Chim; and by Gerda Taro, who had died in action two years before. The negatives, which finally arrived in New York in 2007 after a mysterious journey, are the subject of a fascinating show that rewards the close looking it requires. 1133 Avenue of the Americas, at 43rd Street , (212) 857-0000, (Holland Cotter)

★ International Center of Photography: ‘Wang Qingsong: When Worlds Collide,’ through May 8. The photographs and videos in this small survey satirize recent changes in Chinese culture — the proliferation of McDonald’s, overcrowded cities, even a booming art scene — with sophistication and elaborate staging. The show, Mr. Wang’s biggest New York solo so far, leaves you wondering what the future holds for this gimlet-eyed artist. 1133 Avenue of the Americas, at 43rd Street , (212) 857-0000, (Karen Rosenberg)

Metropolitan Museum of Art: ‘Cézanne’s Card Players,’ through May 8. This mini-blockbuster, organized by the Met and the Courtauld Gallery of London, finds Cézanne taking a subject from genre painting and transforming it. His “Card Players” separates the motif from its attendant morality, replacing the sloppy-drunk gamblers of 17th-century works with sober, stone-faced tradesmen. And it’s impossible to ignore the paintings’ overtures to modernism, especially in the versions in which two players face off across a tilted table. Related paintings of smokers and other peasants come close to portraiture, but ultimately remain types. (212) 535-7710, (Rosenberg)

★ Metropolitan Museum of Art: ‘The Emperor’s Private Paradise: Treasures from the Forbidden City,’ through May 1. Named for one of China’s great, late emperors and located within the Forbidden City’s precincts, the palace known as of the Qianlong Garden was locked up and moldering away until the World Monuments Fund spearheaded a rescue project a few years ago. The objects in this show — furniture, murals, ceramics — are both spectacular evidence of restoration work done so far and bold emblems of 18th-century imperial taste, with its marriage of extreme finesse and grandstanding luxe. (212) 535-7710, (Cotter)

Metropolitan Museum of Art: ‘Extravagant Display: Chinese Art in the Eighteenth and Nineteenth Centuries,’ through May 1. This enthralling exhibition presents about 160 mostly desktop-scale works from the museum’s Chinese collections, including ornate boxes; carvings in wood, jade, amber, ivory and other semi-precious materials; ceramic vases; and a selection of lavishly embroidered silk kimonos used in royal theatrical performances. To pore over these objects is to be repeatedly astounded by the level of design and technical achievement, and, perhaps most importantly, to appreciate the spiritually inspiring power of a lovingly made object. (212) 535-7710, (Johnson)

Metropolitan Museum of Art: ‘Guitar Heroes: Legendary Craftsmen from Italy to New York,’ through July 4. The heroes of this exceptionally interesting show are three craftsmen known for producing some of the most sought-after jazz guitars of the 20th century. Part one surveys a history of Italian luthiers from 17th-century Naples to Italian immigrants producing string instruments in New York in the late 19th and early 20th centuries. Part two presents lovingly made archtop guitars and mandolins dating from 1923 to 2008 by inheritors of that tradition: John D’Angelico, James D’Aquisto and John Monteleone. (212) 535-7710, (Johnson)

Metropolitan Museum of Art: ‘The Roman Mosaic From Lod, Israel,’ through April 3. In 1996 construction workers widening a highway in the Israeli town of Lod stumbled on a major archaeological discovery: a Roman mosaic floor dating from about A.D. 300. Once part of a grand private residence, it’s now installed (temporarily) in the Met’s Greek and Roman Galleries. Other mosaics have turned up at Lod, which was once the ancient Roman colony of Lydda. But this one is in better condition than most because it was preserved by the collapsed mud-brick walls of the home it once decorated. Its pattern too is exceptional, not only for what it depicts (hunting and marine activity, an unusual combination), but also for what it doesn’t (humans or religious symbols). (212) 535-7710, (Rosenberg)

Metropolitan Museum of Art: ‘Katrin Sigurdardottir at the Met,’ through May 30. This Icelandic New Yorker has created a pair of fanciful, quasi-architectural constructions inspired by two of the museum’s French neo-Classical period rooms. Ms. Sigurdardottir’s versions are all-white abstractions of their models, made with exacting craft but with simplified details. One with skewed windows and doors in a descending spiral of abutted panels could be a Modernist set for “Alice in Wonderland.” At 85 percent life-size, the other, an octagonal interior viewable only through one-way mirrors, has a magical, otherworldly glow. (212) 535-7710, (Johnson)

Metropolitan Museum of Art: ‘Stieglitz, Steichen, Strand,’ through April 10. Drawn almost entirely from the museum’s collection, this stunning show explores the Photo-Secession impresario Alfred Stieglitz and two of his greatest discoveries in photography, Edward Steichen and Paul Strand. (Georgia O’Keeffe, arguably his best find in any medium, appears as a portrait subject.) The Met has a special relationship with Stieglitz, who persuaded the museum to start collecting photography with his 1928 gift of 22 of his own prints, but its holdings of early work by Steichen (moody shots of the Flatiron building) and Strand (Cubist-influenced still lifes and cityscapes) are just as impressive. (212) 535-7710, (Rosenberg)

Metropolitan Museum of Art: ‘Tibetan Arms and Armor From the Permanent Collection,’ through fall. The paradox of militant Buddhism inspired the Met’s fascinating 2006 exhibition “Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet.” Later Donald LaRocca, the museum’s arms and armor curator, created this follow-up installation of 35 objects from the Met’s collection (including five acquired in 2007). This time the focus is on defense rather than offense; examples of horse and body armor, dating from the 15th through the 20th centuries, outnumber swords, guns and spears. Most of these objects have seen more ceremonial than military action. All of them equate supreme craftsmanship with defense of the body and Buddhist principles. (212) 535-7710, (Rosenberg)

Morgan Library & Museum: ‘The Diary: Three Centuries of Private Lives,’ through May 22. You don’t get to fully read the journals and diaries of John Steinbeck, Bob Dylan, Nathaniel Hawthorne, Charlotte Brontë, Albert Einstein, Tennessee Williams or any of the others on display here from the Morgan’s incredible collection. But these riches are propped open in display cases for viewing, each revealing more than a tweet’s worth of tantalizing self-revelation or self-concealment. The museum provides transcriptions for those who can’t readily decipher 18th-century script, 19th-century microscopic penmanship and 20th-century scrawls. 225 Madison Avenue, at 36th Street , (212) 685-0008, (Edward Rothstein)

Museum of Arts and Design: ‘The Global Africa Project,’ through May 15. This ambitious if flawed survey exuberantly mixes contemporary art, design and craft by some 120 participants who are mostly African or of African descent. Setting an example of curatorial porousness that more museums should follow, it ranges from high-end luxury items (including art) to industrial design using recycled materials, from D.I.Y. urban renewal to resurgent craft traditions. The resulting friction between nonfunctional and functional, spiritual and practical, handmade and machine-made, and professional and self-taught is music to the eyes and will attune them to the important ideas and attitudes that continue to come out of Africa. This show had to be done. It should recur on a regular basis. Africa and its legacy will never be less important. 2 Columbus Circle , (212) 299-7777, (Smith)

★ Museum of Modern Art: ‘Abstract Expressionist New York: The Big Picture,’ through April 25. More generous retrenchment than expansive revision, this landmark show culls some 100 paintings, and related sculptures, prints, drawings and photographs, from the unrivaled permanent collection. Yes, a shortage of works by lesser-known artists makes it all a little too MoMA-as-usual, despite the presence of works unseen for decades. But there is something for everyone — whether the eerily abstract photographs of Aaron Siskind, the immersive gallery of Mark Rothko’s radiant canvases or the no-holds-barred ambition of Jackson Pollock, at full tilt in the show’s astounding first gallery. The total illuminates, thrills and provides much useful grist — both artistic and museological — for the art-world mill. (212) 708-9400, (Smith)

★ Museum of Modern Art: ‘Abstract Expressionist New York: Ideas Not Theories,’ through Feb. 28. This exhibition, one of two smaller shows inspired by the Modern’s Abstract Expressionist extravaganza, delves into the movement’s legendary intellectual forum, the Club, with a cornucopia of prints, drawings, small paintings and oddities like a rug by John Ferren and a mosaic by Jeanne Reynal, the early abstract films of Len Lye and architectural projects by R. Buckminster Fuller and Oscar Niemeyer. The prevalence of lively contextualizing material and sense of MoMA’s incalculably rich holdings impress, although the very premise reinforces the members-only ambience of the larger show. (212) 708-9400, (Smith)

★ Museum of Modern Art: ‘Abstract Expressionist New York: Rock Paper Scissors,’ through Feb. 28. The second accompaniment to MoMA’s Abstract Expressionist show examines the objects of 10 sculptors supplemented by prints and other works on, or of, paper. Forgotten names include David Hare, Dorothy Dehner and Seymour Lipton. Other artists are in the main (David Smith, Louise Nevelson) or should have been (Louise Bourgeois, Isamu Noguchi). A prevailing period look suggests that much of the material is of historical interest. But don’t miss Stanley William Hayter’s 1940 plaster “Hand Sculpture,” whose squeezed undulations presage the directness of drip painting. (212) 708-9400, (Smith)

★ Museum of Modern Art: ‘Counter Space: Design and the Modern Kitchen,’ through May 2. Sometimes a kitchen is just a kitchen, but not often. This elaborate show, which draws from every department in the museum and includes some 300 design objects, examines the kitchen’s complex role in everyday life (and lifestyle), product development, advertising, sexual stereotyping, at least two war efforts, contemporary art and, throughout, in the evolution of design itself. The centerpiece is a rare, nearly complete example of the cockpitlike, mass-produced Frankfurt Kitchen from 1926-27, an exemplar of the modern spirit that still looks invitingly usable. (212) 708-9400, (Smith)

★ Museum of Modern Art: ‘Picasso: Guitars 1912-1914,’ through June 6. Five years after painting his history-altering “Demoiselles d’Avignon” and inspired by his friend Georges Braque, Picasso left the figure behind and immersed himself in an alternative reality of still lifes that collapsed space and took him to the brink of abstraction. MoMA’s subtly buzzing manifesto of a show, made up of 70 thematically-related paintings, drawings and collages, along with a pair of renowned guitar sculptures, is a record of that moment, a brief revolution that generated some of the most challenging ideas in modern art. (212) 708-9400, (Cotter)

★ Museum of Modern Art: ‘Pictures by Women: A History of Modern Photography,’ through April 4. MoMA’s photography collection is sufficiently strong in work by women that this show comes close to meeting the promise of its title. The span of 200 works by 120 artists starts around 1850 and comes up to the present, and it is packed with fantastic things. (212) 708-9400, (Cotter)

Museum of Modern Art: ‘Staging Action: Performance in Photography Since 1960,’ through May 9. This show of some 50 works drawn from the photography department, nearly half of them acquired over the past five years, emphasizes performances staged for (rather than simply documented with) the camera. Some of the artists — Lee Friedlander, Richard Prince — are better known as photographers than as performers. The works range from 1960s Vienna to 1990s Beijing and from solipsism to exhibitionism. (212) 708-9400, (Rosenberg)

Museum of Modern Art: ‘Andy Warhol: Motion Pictures,’ through March 21. In the mid-’60s Warhol made nearly 500 silent, black-and-white films of people mostly sitting still, as if for photographic portraits. Now digitized, 12 of these four-minute films are the focus of this show. The subjects include downtown luminaries like Susan Sontag, Allen Ginsberg, Dennis Hopper and, most beautiful of all, Edie Sedgwick. His punishingly long, excruciatingly uneventful films “Sleep” (1963), “Kiss” (1963-64) and “Empire” (1964) also will be screened during the run of the exhibition, in a specially built small theater. (212) 708-9400, (Johnson)

★ New Museum: ‘George Condo: Mental States,’ through May 8. The American artist George Condo first made a splash in New York in the 1980s with a line of Surrealist-style figure paintings. They were tasty, erudite stuff, freaky but classy, Mixmaster-version old master, with a big glop of pop tossed in. He went to Europe for a successful decade, then came back to Manhattan in the 1990s without quite gaining main-stage status here. Now, finally, he’s having a New York museum survey, and it’s sensational. 235 Bowery, at Prince Street, Lower East Side , (212) 219-1222, (Cotter)

Noguchi Museum: ‘On Becoming an Artist: Isamu Noguchi and His Contemporaries, 1922-1960,’ through April 24. Constantin Brancusi, Marcel Duchamp, R. Buckminster Fuller, Arshile Gorky, Martha Graham, Frida Kahlo, Hans and Florence Knoll, Richard Neutra: Noguchi intersected with all of them and many other luminaries of art, architecture and design. The museum has explored some of these relationships in more focused exhibitions, but its current survey gives you the big picture of Noguchi’s social network. He starts to look like a Zelig of 20th-century aesthetics — popping up in Brancusi’s Paris studio, onstage with Merce Cunningham at the Ziegfeld Theater and around the postwar high-rises of Gordon Bunshaft. 9-01 33rd Road, at Vernon Boulevard, Long Island City, Queens, New York , (718) 204-7088, (Rosenberg)

P.S. 1 Contemporary Art Center: ‘The Talent Show,’ through April 4. An art exhibition can be smart and informative even if its contents are, as in “The Talent Show,” quaint, silly, disingenuous and fatuous. From an Andy Warhol screen test to Amie Siegel’s compilations of YouTube videos in which young women sing “Gotta Go My Own Way” and men warble “My Way,” the show explores tendencies in performance and participatory art that appear to anticipate today’s culture of equal-opportunity celebrity. 22-25 Jackson Avenue, at 46th Street, Long Island City, Queens , (718) 784-2084, (Johnson)

Rubin Museum of Art: ‘Grain of Emptiness: Buddhism-Inspired Contemporary Art,’ through April 11. This show explores Buddhist influence on contemporary art via an eclectic, not-the-usual-suspects group of five artists: Sanford Biggers, Theaster Gates, Atta Kim, Wolfgang Laib and Charmion von Wiegand. Most of them don’t consider themselves Buddhists (and at least one isn’t really contemporary), but all lean heavily on the religion’s symbols, tenets and rituals. Their works are interspersed with centuries-old examples of Himalayan art from the museum’s collection. 150 West 17th Street, Chelsea , (212) 620-5000, (Rosenberg)

Smithsonian National Museum of the American Indian: ‘A Song for the Horse Nation,’ through July 7. Including saddles, riding blankets, clothing, beaded bags and much more, this exhibition brings to light a fascinating and ultimately sad chapter in American history: the hundred-year period during which horses were central to the lives of the Plains Indians. A highly efficient form of transportation, horses enabled Navajo, Crow, Comanche, Pawnee and others to expand their territories and flourish more than they otherwise would have. It also enabled them to make war more effectively, though ultimately not effectively enough. George Gustav Heye Center, 1 Bowling Green, Lower Manhattan , (212) 514-3700, (Johnson)

Studio Museum in Harlem: ‘Lynette Yiadom-Boakye: Any Number of PreocCupations,’ through March 13. The first museum solo for this Londoner of Ghanaian heritage is refreshing — partly because Ms. Yiadom-Boakye isn’t well known in New York and partly because her art, though in keeping with the mission of the museum, looks so different from the work by young artists in other shows there. Where painters including Barkley L. Hendricks, Kehinde Wiley and Mickalene Thomas have taken a celebratory approach to black subjects, Ms. Yiadom-Boakye makes her approach nearly invisible. Faces are inchoate, bodies phantomlike, but subtle references to portraits by Sargent, Manet and Velázquez keep you guessing. 144 West 125th Street , (212) 864-4500, (Rosenberg)

Whitney Museum of American Art: ‘Modern Life: Edward Hopper and His Time,’ through April 10. Mixing and matching 32 of Hopper’s paintings and works on paper with the efforts of nearly 30 artists and photographers whose lives overlapped with his, this is more of a hanging from the permanent collection than it is an exhibition. Friends and mentors like John Sloan, Guy Pène du Bois and Charles Burchfield are emphasized, and some must-see Hoppers from nearby museums beef things up. The ensemble may not get to the heart of Hopper’s sublimely unreal realism, but it outlines the profound, still underappreciated vastness of his seemingly single-minded art. (212) 570-3600, (Smith)

Whitney Museum of American Art: ‘Singular Visions,’ continuing. With its “one artwork per room” rule, “Singular Visions” is a refreshing departure from the typical collection sampler. The show’s work includes pieces by A A Bronson, Sarah Charlesworth, Robert Grosvenor, Eva Hesse, Edward Kienholz and Georgia O’Keeffe; some rooms are more intriguing than others, but on the whole the show feels like a necessary experiment. (212) 570-3600, (Rosenberg)

Galleries: Uptown

Helen Frankenthaler: ‘East and Beyond,’ through March 11. Like James McNeill Whistler, this doyenne of Color Field painting has long ascribed to the principle that less can be gloriously more, with all kinds of Asian art. This exhibition examines that connection with more than three decades of paintings bolstered by substantial arrays of woodblock prints and paintings on paper and an imposing three-part folding screen that contrasts large intaglio prints and lavishly patinaed bronze panels. Altogether, it’s a tantalizing glimpse of a long, resolutely focused career. Knoedler & Company, 19 East 70th Street , (212) 794-0550, (Smith)

★ ‘Tibor de Nagy Gallery Painters and Poets,’ through March 5. New York City culture had a golden moment when Tibor de Nagy gallery opened in Midtown in 1950, introducing a raft of young artists (Larry Rivers, Jane Freilicher, Nell Blaine) and publishing new experimental poets (John Ashbery, Frank O’Hara, Kenneth Koch). Wonderfully, everyone collaborated with everyone, and six decades later the gallery is still here to tell the tale. And that’s what it is doing in this tangy anniversary show. Tibor de Nagy Gallery, 724 Fifth Avenue, at 57th Street , (212) 262-5050, (Cotter)

Galleries: Chelsea

Jeppe Hein, through March 5. With works like the dazzling “360° Illusion” (2007), a giant set of rotating, pinwheel-like mirrors, this Danish artist has played carnivalesque games with the architecture of various art spaces. But his current show, his second at the 303 Gallery, takes the fun out of the funhouse. The centerpiece is “Light Pavilion,” a canopy of light bulbs on strings that slowly expands and collapses; it’s attached to, and powered by, a stationary bike near the reception desk. 303 Gallery, 547 West 21st Street , (212) 255-1121, (Rosenberg)

Dave Miko and Tom Thayer: ‘New World Pig,’ through March 5. In this ravishing show, Mr. Miko’s enamel-and-lacquer abstract paintings serve as different-sized screens (placed at different levels) for unusually slow-moving animations by Mr. Thayer. As the crudely drawn figures and animals make their way through shifting clouds of iridescent color, the unfolding narrative is not always clear, but the resulting hybrid splits the difference between painting and animation, fusing intangible and solid in a way that feels both whole and new. No mean feat. The Kitchen, 512 West 19th Street , (212) 255-5793, (Smith)

Galleries: Other

‘Ursula von Rydingsvard: Sculpture 1991-2009,’ through March 28. The imposing, semi-abstract wooden works in this well-produced show of 10 pieces by a veteran sculptor look as if they’d been made by druids. Ms. von Rydingsvard is a child of the post-Minimalist 1970s, a decade when many artists restored the human touch to abstraction. The best works are mysteriously singular. “Ocean Floor” (1996), a giant, graphite-darkened wooden bowl, 13 feet in diameter, is terrific. It might have been unearthed by archaeologists from a site where colossal ogres once dwelt. SculptureCenter, 44-19 Purves Street, Long Island City, Queens , (718) 361-1750, (Johnson)

Out of Town

★ African Art Museum of the SMA Fathers: ‘Permanent Collection, Part I,’ through Aug. 14. If you’re looking for some visual magic — a Yoruba dance mask with a mini-zoo on top; a brocaded body wrap from Ivory Coast that seems to float on air; a 10-foot-high figure of the 1960s Malian soccer hero Salif Keita — this small, unorthodox museum in a stained-glass-windowed hall beside a church, on the residential campus of a Roman Catholic missionary order in a leafy New Jersey suburb, is for you. 23 Bliss Avenue, Tenafly, N.J. , (201) 894-8611, (Cotter)

★ Anacostia Community Museum: ‘Word, Shout, Song: Lorenzo Dow Turner, Connecting Communities Through Language,’ through July 24. Housed in a converted movie theater in a predominantly African-American neighborhood that is a cab ride’s distance from the National Mall, the Anacostia Community Museum is one of Washington’s cultural secrets. Its current exhibition on the scholar Lorenzo Dow Turner (1890-1972), who documented surviving traces of African languages and customs in modern African-American culture, is both an archival homage and a well-paced drama of ideas. Smithsonian Institution, 1901 Fort Place SE, Washington , (202) 633-4820, (Cotter)

★ The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College: ‘The Jewel Thief,’ through Feb. 27. This big, bright, candy box of a group show helps lay to rest the silly idea that there’s a shortage of painting these days. There’s a ton of it if you just look around, though rarely as imaginatively installed as it is here. 815 North Broadway, Saratoga Springs, N.Y. , (518) 580-8080, (Cotter)

★ Institute of Contemporary Art/Boston: ‘Mark Bradford,’ through March 13. Rich with ideas and formally virtuosic, this traveling 10-year survey of work by the Los Angeles artist Mark Bradford asks some very basic aesthetic questions — what’s abstraction, what’s painting, what’s black art — and comes up with complicatedly gorgeous answers. A smaller concurrent exhibition, “Mark Bradford: Alphabet,” is at the Studio Museum in Harlem, 144 West 125th Street, through March 13. 100 Northern Avenue, Boston , (617) 478-3100, (Cotter)

Last Chance

★ Fia Backstrom / Christian Philipp Müller; closes on Saturday. These two clever solo exhibitions use text in ways more aggressively journalistic than dryly conceptual. Mr. Müller chronicles the transformation of Chelsea with an engrossing archive of people who live and work there; Ms. Backstrom needles the already porous boundaries separating Twitter, political dialogue and old-fashioned advertising campaigns in her installation, where corner pub meets home page. Murray Guy, 453 West 17th Street, Chelsea , (212) 463-7372, (Rosenberg)

Don Dudley; closes on Saturday. Mr. Dudley, born in 1930, was an active player in the turn to hedonistic simplicity in painting in the late 1960s and early ’70s. The exceptionally handsome arrangements of sleek, monochrome panels dating from the early ’70s in this show — his first solo since 1985 — are like polytychs for a Euclidean mystery cult, classically modern and modernistically timeless. I-20 Gallery, 557 West 23rd Street, Chelsea , (212) 645-1100, (Johnson)

Patrick Hill: ‘Clumsy Angels’; closes on Wednesday. Imitating mid-1960s style, Mr. Hill’s sculptures are built of neatly jointed wooden beams dyed in bright, Crayola hues, incorporating circles and rectangles of mirrored and transparent plate glass. Shapes of women’s arms, legs and rumps, cut from flat pieces of white marble, hang on pegs in erotically suggestive positions. A species of sociologically critical meta art, Mr. Hill’s works look snappy but are more academic than imaginative. Bortolami, 520 West 20th Street, Chelsea , (212) 727-2050, (Ken Johnson)

‘Italian Paintings From the 17th and 18th Centuries’; closes on Saturday. This unusual-for-the-neighborhood show of Italian old master paintings includes portraits, religious narratives and vedute, or Venetian views, with an emphasis on the Baroque period. The artists aren’t all household names, but they’re just a degree or two away. Two of the liveliest works are by Cavalier D’Arpino, an associate of Caravaggio: a Cupid surprising his wide-eyed mother with a charming smack on the lips, and a hobbitlike David brandishing the head of Goliath. And don’t miss the works in the elevator gallery (parked for the duration of this exhibition), including a portrait of an unidentified man recently attributed to Artemisia Gentileschi. Sperone Westwater, 257 Bowery, between Houston and Stanton Streets, Lower East Side , (212) 999-7337, (Rosenberg)

Patrick Jacobs: ‘Familiar Terrain’; closes on Sunday. Mr. Jacobs’s superrealistic, miniature sculptures are amazing. Through round, convex lenses built into gallery walls, you see luminous landscapes, close-ups of grass and mushrooms and a pair of grungy apartment windows with a view. Made from paper, plastic, acrylic gel, hair and metal, they are like dioramas for a Lilliputian natural history museum. Pierogi, 177 North Ninth Street, Williamsburg, Brooklyn , (718) 599-2144, (Johnson)

Butt Johnson: ‘The Name of the Rose’; closes on Saturday. With ballpoint pens and the skills of an old-time draughtsman-engraver, Butt Johnson — a young New York artist’s pseudonym — creates visually riveting drawings addressing newsy topics like terrorist bombing, nanotechnology, video games and postmodern architecture. Intricately, almost microscopically rendered pastiches of architectural ornament, allegorical figures, photo- and digitally based imagery and even wild-style graffiti make you wonder, “How long did it take to do that!?” CRG Gallery, 548 West 22nd Street, Chelsea , (212) 229-2766, (Johnson)

★ Lee Lozano: ‘Tools’; closes on Saturday. Accounts of Ms. Lozano’s vivid personality and combative career have done their part to keep her work visible since her death in 1999. But the paintings and graphite drawings from 1963-64 in this show need no anecdotal support. Technically, they belong to the genre of the tabletop still life. But the table in this case is a machine-shop workbench and the objects depicted — in extreme, pornographic close-up — are tools: hammers, wrenches, drills, and screwdrivers. One look and you know you’re in the presence of an artist with large ideas, and the technical chops to give them powerful form. Hauser & Wirth, 32 East 69th Street , (212) 794-4970, (Cotter)

★ Christian Marclay: ‘The Clock’; closes on Saturday. The latest excursion into extreme editing and radical sampling from this wizardly visual artist, composer and appropriator is a 24-hour timepiece that tells the actual time using thousands of brilliantly spliced-together film clips. Thus it is also a 24-hour valentine to the movies that melds genres from around the world and throughout the last century into either the world’s greatest trailer or a history of film for our times of attention-deficit disorder. The tension between real time and the manic compression of movie time — not to mention the inspired interweaving of themes, plots, styles, scores and sound effects — is surprisingly endlessly riveting, and on Fridays you can be riveted around the clock. Paula Cooper Gallery, 534 West 21st Street, Chelsea , (212) 255-1105, (Smith)

Metropolitan Museum of Art: ‘Between Here and There: Passages in Contemporary Photography’; closes on Monday. This lively little collection show gathers photographs and videos about travel of one kind or another. The trip might be Ed Ruscha’s drive down the Sunset Strip, Doug Aitken’s airplane flight, Richard Long’s walk through the British countryside or Bruce Nauman’s jerky, robotic march across the floor of his studio. (212) 535-7710, (Rosenberg)

Piotr Uklanski: ‘Discharge!’; closes on Saturday. This infinitely clever artist — who doesn’t so much make art as mount flesh-out Conceptual Art spectaculars — has taken to appropriating the conventions of craft to lend a veneer of sincerity to his posing. Here, closely spaced tie-dyed paintings, made by skillfully bleaching bedsheets and displayed on tie-dye covered walls, fill the space with the trickle-down effects of Abstract Expressionism, Color Field painting, lyrical abstraction and surfing culture. The “paintings” constitute newly made period pieces, and co-dependent ones, too. It is hard to imagine them holding up individually, but the environmental-art effect is fun while it lasts. Gagosian Gallery, 980 Madison Avenue, at 76th Street , (212) 744-2313, (Smith)

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