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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.”

Robin Rhode’s show at Lehmann Maupin closes March 16.

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.”

Circus Days, Jill Freedman’s show at Higher Pictures, closes March 9.

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.

If you’ve been to the Met you are familiar with the work of El Anatsui. His current show at the Brooklyn Museum, which his first solo exhibition in a New York Museum, features “over 30 works in metal and wood that transform appropriated objects into site-specific sculptures.”