An award-winning NYC blogazine, primarily about painting
Friday, January 23, 2026
Contributed by Michael Brennan / A while ago, with a half dozen adventurous galleries operating, a new art corridor seemed to be emerging on Atlantic Avenue in Brooklyn. This made geographical sense. Brooklyn was reaching critical mass in terms of artist residents, and the street itself was long and central, with excellent public transportation access…
Contributed by Jonathan Stevenson / Located in rough-and-tumble Newburgh beyond the pale of riverfront commercial development on a piece of land just yards from the Hudson and insouciantly flush with its waterline, Carolina Wheat and Liz Nielsen’s grandly unvarnished Elijah Wheat Showroom has the Bunyanesque vibe of a frontier museum. Then it suavely wrongfoots its patrons with the fearlessly avant-garde attitude of 1970s Soho. Matthew Lusk’s deviously clever sculptures and installations exploit and reinforce both attributes…
Contributed by David Carrier / Giorgio Morandi was born in 1890 and died in 1964. After the 1910s, when his art had some affinities with that of Giorgio de Chirico, he painted only still lives – bottles or flowers – and landscapes. “Time Suspended, part II” at Mattia de Luca Gallery, part I having been staged earlier in Italy, is a blessedly large presentation of 45 paintings and fifteen works on paper that reveals how little other artists or current events – indeed, anything outside of his studio life – affected his work.
Contributed by Sarah Friedman / Liz Scheer’s “Nocturama,” now up at Galerie Shibumi, is a trippy journey into multimedia works that combine everyday objects, religious texts, and human emotions. The style of the vignettes evokes Mexican votive paintings, conjuring the viewer’s longing for coherent narrative. However, the enigmatic captions do not always seem to explain the scenes they are paired with.
Contributed by David Carrier / As the title “Tapes, Fields, and Trees” indicates, the exhibition of ten works by Sylvia Plimack Mangold at Craig Starr Gallery draws on three bodies of her early work. In the mid-1970s, she made Minimalist paintings of tape measures. Pieces like Taped Over Twenty-Four-Inch Exact Rule on Light Floor, however, reveal a surprising poetry in seemingly prosaic subjects. Then she painted grids, like the one in Painted Graph Paper. Finally, in a remarkable transition, she drew a window looking out on a landscape….
Contributed by Jonathan Stevenson / Eight years ago, Kelly Reichardt’s exquisitely penetrating Certain Women appeared. A singularly nuanced and resolutely independent filmmaker, she patrols the interstices of American history and contemporary society. In this movie, she presented several game female Montanans who couldn’t afford to have feminism on their minds and nonetheless lived reckonable lives – a perspective that she had established sharply in Wendy and Lucy (2008) and reiterated softly in Showing Up (2022). Judging by several recent independent films, Reichardt’s subtle perspective has had lasting influence in framing the quandary of how women establish agency in a society that still – or at least again – often militates against them.
Contributed by Karlyn Benson / October is the most beautiful time to visit the Hudson Valley, Catskills, and Western Connecticut, and there are dozens of new exhibitions to see this month….
Contributed by Sharon Butler / This month, Marian Goodman has opened her new space in Tribeca—a thoughtfully renovated building at 385 Broadway. Just nearby, at 394 Broadway on the third floor, Pierogi Gallery, a longtime staple in Williamsburg, is marking its 30th anniversary with a pop-up exhibition. The show features works by numerous represented artists, along with selections…
Contributed by Christopher Stout / Over the past 15 years, Patricia Fabricant has experimented with distinctive heroic elements within her work, some figurative and some that seem to be extracted from nature. “Horror Vacui,” her solo show at Equity Gallery, presents 26 inventively patterned gouache paintings that follow the conceptual approach the show’s title – meaning “fear of empty spaces” – suggests, filling the entire surface with detail and composition….
Contributed by Jonathan Stevenson / Information overload has understandably been a popular theme for artists, and many have explored it poignantly….Lisa Hoke is one – a game and capable bull rider in a visual rodeo. In her solo show “Relative Uncertainty” at Kathryn Markel Fine Arts, she meets the challenge with consummate skill, persistent wit, and, not least, a kind of stoical grit that firmly rebuffs any attempt to cast her outwardly joyful approach as sheltered or clueless, utopian or oblivious.
Contributed by Talia Shiroma / It is safe to say that beauty has become an incidental quality in visual art over the last century, taking a back seat to, among other things, art’s expanded range of aesthetic values, its social and political dimensions, and capacity for novelty. So it was surprising to find, at Teak Ramos’s solo show “In Traditional Fashion” at Ulrik Gallery, a self-conscious display of visual delight. The exhibition featured 14 panels clad in white silk and tulle, which ran along the walls like errant pearls. The works are impassive, delicate, and thoughtfully constructed. They are lovely and empty forms.
Contributed by Mark Wethli / On a small shelf in a quiet corner of Sarah Bouchard Gallery in Woolwich, Maine, sits a dog-eared paperback copy of Lewis Hyde’s Trickster Makes This World: Mischief, Myth, and Art. With a growing sense of delight, we soon realize that the book is itself a trick, a trompe l’oeil sculpture by Justin Richel, convincing in every detail from its vintage 1990s graphics to its well-worn cover….It is a fitting overture to “You Don’t Know Me,” the four-person show currently on view. The artists – Carly Glovinski, Rachel Grobstein, Duncan Hewitt, and Richel – present kindred explorations of parallel realities, producing conundrums and contradictions that give rise to visual enchantment and philosophical contemplation.
Contributed by Riad Miah / Rafael Vega’s work contemplates the act of making art in its entirety. Each of his two-dimensional relief pieces, now on display in his solo show “To See Is To Conjure” at Helm Contemporary, emerges from a series of deliberate actions – cutting, folding, and stitching – that break down and rebuild the existing composition. Leaving unprimed and untouched canvas as a frame of reference, he lets viewers in on his creative ritual. They see, as it were, how the sausage is made.
Contributed by William Eckhardt Kohler / “Make It or Break It,” now showing at C24 Gallery in Chelsea, features a group of artist known for their curatorial practices who use collage or found objects to disrupt, critique, and reflect reality. The implication here that collage in particular has become a prominent part of our visual vernacular suggests a pervasively fractured way of seeing the world and a compulsion to reorganize it. Each artist explores how fragments, juxtaposed images, and collected objects more broadly articulate new associations and understandings that encompass personal history, culture, and art history.
Contributed by Michael Brennan / Tappeto Volante Gallery in Gowanus is audaciously hosting a condensed retrospective spanning decades of Bascha Mon’s painting, selected and arranged by the artist herself. Her more recent work dominates the gallery’s anterior space, with paintings from the 1970s – which remain integral to her ongoing inquiry – populating the rear room….
