Philip Guston: A Centennial Exhibition, at
McKee Gallery, is a “spontaneous celebration, attempting to expand our understanding of Guston with works which have not been widely exhibited, interspersed with some Guston classics which have been shown and reproduced all over the world.”
Andra Ursuta’s show at
Venus Over Manhattan is “informed by her native country, her subsequent move to New York as a student, and the attendant issues of foreignness, exoticism and dislocation.”
White Collar Crimes, the painting show curated by Vito Schnabel at
Acquavella, “presents an unexpected collaboration between conceptually rigorous emerging artists and a gallery with a legacy for blue chip exhibitions of modern masters.”
Jacob Kassay is having a big week. First signing with
303 Gallery, and now in a group show at Andrea Rosen’s new
experimental space with Olivier Mosset and Lawrence Weiner.
Joe Zucker’s show,
Empire Descending A Staircase, at
Mary Boone, continues his “process of physically breaking down not just the ostensible subject — here, fluted Doric columns — but the materials of painting itself.”
What Wont Wreng, Nayland Blake’s show at
Matthew Marks, “seeks out the spontaneous moments in daily life and uses them as departures for art.”
NYC 1993: Experimental Jet Set, Trash and No Star, at the
New Museum, attempts to “capture a specific moment at the intersection of art, pop culture, and politics.”
Balázs Kicsiny’s
The Checkered Doubt, at
Rooster Gallery, features paintings, photos and videos with a common motif: their black and white checkered pattern, which originates from an English 16th Century sarcophagus in Westminster Abbey.
