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New York Art Tours Merrily Kerr, a professional art critic and licensed NYC tour guide, offers private and scheduled gr So how do you choose what to see?

New York City art galleries are world class, and its museums house some of the finest art collections in the world, from antiquities to contemporary art. Join art critic, college educator and professional tour guide Merrily Kerr for inside access to New York's art scene on a custom designed private tour or a scheduled, small group tour. Please contact [email protected] for more information.

Everything changes, everything interacts and everything goes on forever. Japanese conceptual artist and sculptor Tatsuo...
07/03/2025

Everything changes, everything interacts and everything goes on forever. Japanese conceptual artist and sculptor Tatsuo Miyajima embeds these concepts in his new work at Chelsea’s Lisson Gallery Lisson Gallery presenting sculpture in which countdowns of LED numbers speak to Buddhist concepts of transformation. Here, however, a circular panel is part of a series inspired by ancient Babylonian star maps that recorded observations of the cosmos on clay tablets. Intended to point to constantly changing life beyond earthly boundaries, the series takes the mind both back in human time and far beyond human experience and understanding. (On view through April 19th).

Tatsuo Miyajima, MUL.APIN – no 3, LED, IC, electric wire, painted wood panel, switching power supply, 35 3/8 x 35 3/8 x 3 inch, 2024.

Who are the stylized female figures in Deborah Druick’s paintings at Nino Meier Gallery? With their faces hidden behind...
05/03/2025

Who are the stylized female figures in Deborah Druick’s paintings at Nino Meier Gallery? With their faces hidden behind a fan, a bird, hair or even painted out, Druick not only gives nothing away but drives home the women’s anonymity. At the same time, their abundant, characterful, wig-like swooshes of hair hint at a liveliness below the surface. Similarly, Druick’s abundant patterning of the women’s dress and their backgrounds flattens the figures, making them less life-like while also suggesting agency via bold fashion statements. The contradictions entice. (On view in Tribeca through March 22nd).

Deborah Druick, Plumage, flashe paint and acrylic on linen, 24 x 18 inches, 2023.

Beach-goers and surfers look out to sea and a small group of people gather as if for a memorial while an artist at work ...
03/03/2025

Beach-goers and surfers look out to sea and a small group of people gather as if for a memorial while an artist at work on his beach chair records it all in an intriguingly mysterious 22’ painting by Bo Bartlett at Miles McEnery Gallery Miles McEnery Gallery . The same tone permeates this painting of a young person pausing in the innocent pastime of stone skipping, perhaps to notice two girls walk by or, more ominously, to gaze out at a smoking blaze on the horizon. Warm sand and blue skies belie the watchfulness and foreboding of Bartlett’s new work, suggesting the impending end of an idyll. (On view through March 15th).

Bo Bartlett, The Skippers, oil on linen, 46 x 66 inches, 2024.

Known since the ‘90s for paintings that question what a painting is, LA artist Laura Owens pushes the boundaries again w...
28/02/2025

Known since the ‘90s for paintings that question what a painting is, LA artist Laura Owens pushes the boundaries again with must-see immersive artworks at Matthew Marks Gallery Matthew Marks Gallery . An old metal desk once installed at the gallery entrance was shipped to Owens’ LA studio, fitted with interactive elements (a moving roll of tape, a drawer that slides open on its own) and now welcomes visitors into a show of surprises. In the first room, Owens flips walls and canvas, painting trompe l’oeil wires, candy and more on the walls, while the show’s five canvases hint at patterns derived from wallpaper designs. In the back space (pictured here), patterns, floating clouds and flowers take over walls set with small panels that open and close to reveal hidden pictures. In another gallery, visitors are invited to gently handle books handmade by the artist, a reversal of the usual prohibition against touching and a trigger for our pleasure in discovery. (On view through April 19th).

Laura Owens, Untitled, oil, acrylic, silkscreened Flashe, sand and flocking on clay-coated paper mounted to aluminum panels, egg tempera on panel, video, and sound (runtime 80 minutes), 184 1/8 x 258 5/8 x 532 7/8 inches, 2025.

As a winner of the ’22-’23 Rome Prize, photographer Todd Gray spent six months in Rome absorbing the city’s contrasting ...
26/02/2025

As a winner of the ’22-’23 Rome Prize, photographer Todd Gray spent six months in Rome absorbing the city’s contrasting ancient and contemporary architecture and translating those time shifts into complex images. Already known for sculptural, photo-based artwork juxtaposing African landscapes with European architecture built with wealth extracted from its colonies, Gray’s new work at Lehman Maupin Gallery Lehmann Maupin showcases the extravagant beauty of Rome’s built environment, troubled by symbols of exploitative practice. Here, a ceiling from an early 19th century Neoclassical villa decorated with cavorting n**e figures is punctuated by the mast of a slave ship model in the Maison des Esclaves (House of Slaves) museum on Goree Island in Senegal. An image from the Hubble Scape Telescope acts as portal between the two places, allowing a kind of passage between locations and back in time. (On view through March 22nd).

Todd Gray, Blues Ship (makes me wanna holla), 3 pigment ink prints on Dibond in artist’s frames, 41 x 61 1/8 x 2 ¾ inches, 2024.

How present can you be while on your phone? British artist Julian Opie offers his take on the question with a presentat...
24/02/2025

How present can you be while on your phone? British artist Julian Opie offers his take on the question with a presentation of four nearly 10-foot-tall striding figures at Lisson Gallery Lisson Gallery in Chelsea, two of whom gaze down at digital devices. Blatantly present due to their size, but mentally removed, the figures are emblematic of our distracted times while also monumentalizing digital connectedness. Initially created for an exhibition in Busan, Korea, the figures could come from anywhere yet retain distinct characteristics in a mix-up of specificity and universality. (On view in Chelsea through April 19th.)

Julian Opie, Red phone, Auto paint on aluminium, 119 1/8 x 54 3/8 x 19 1/4 in, 2023.

For the past 20 hears, Saya Woolfalk has centered her multi-media art practice around her invented, utopian world in whi...
22/02/2025

For the past 20 hears, Saya Woolfalk has centered her multi-media art practice around her invented, utopian world in which cultural and even physical hybridity leads to empathy towards other beings. In advance of the artist’s mid-career retrospective at the Museum of Art and Design in April, Susan Inglett Gallery in collaboration with Leslie Tonkonow Gallery present a compact but enjoyably diverse selection of Woolfalk’s work from the last c. 9 years in a range of media, from prints on paper and silk to glass fused with plant material. In this print, Woolfalk pictures a composite figure of apparent spiritual importance holding two planet-like orbs in her hands, framed by natural growth and prominently anointed with a multi-colored disc. (On view at Susan Inglett Gallery in Chelsea through March 15th).
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Saya Woolfalk, Encyclopedia of Cloud Divination (Plate 3), archival inkjet print, silkscreen, silver leaf, chine colle on Hahnemule Photo Rag Ultra Smooth, 40 x 30 (image), ed of 14, 2018.
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For the past 20 hears, Saya Woolfalk has centered her multi-media art practice around her invented, utopian world in whi...
22/02/2025

For the past 20 hears, Saya Woolfalk has centered her multi-media art practice around her invented, utopian world in which cultural and even physical hybridity leads to empathy towards other beings. In advance of the artist’s mid-career retrospective at the Museum of Art and Design MADmuseum in April, Susan Inglett Gallery SUSAN INGLETT GALLERY in collaboration with Leslie Tonkonow Gallery present a compact but enjoyably diverse selection of Woolfalk’s work from the last c. 9 years in a range of media, from prints on paper and silk to glass fused with plant material. In this print, Woolfalk pictures a composite figure of apparent spiritual importance holding two planet-like orbs in her hands, framed by natural growth and prominently anointed with a multi-colored disc. (On view at Susan Inglett Gallery in Chelsea through March 15th).

Saya Woolfalk, Encyclopedia of Cloud Divination (Plate 3), archival inkjet print, silkscreen, silver leaf, chine colle on Hahnemule Photo Rag Ultra Smooth, 40 x 30 (image), ed of 14, 2018.

Told many years ago that her eggs would never allow her to bear a child, Nathalia Edenmont pursued the theme of reproduc...
20/02/2025

Told many years ago that her eggs would never allow her to bear a child, Nathalia Edenmont pursued the theme of reproduction with a plan to transform discarded goose eggs into art. After performing the difficult task of cleaning the eggs, however, Edenmont found the associations too painful and shelved the project. Meticulously staged photographs of models wearing dresses composed of flowers or fruit followed, along with collages composed of butterfly wings, each alluding to fertility and beauty. More recently, however, Edenmont returned to the goose eggs, cracking them gently with her hands in patterns and here, setting a smaller hen’s egg in a larger goose egg. Not stopping at photography, for which she is known, the artist’s current show at Nancy Hoffman Gallery Nancy Hoffman Gallery includes her recent sculpture, which substitutes strong materials for fragile. (On view in Chelsea through March 22nd).

Nathalia Edenmont, [sculpture, foreground] Out of a Fertile Summer Sun (Vincenzo), pure white Statuario marble (Carrara) on labradorite base (Madagascar), 23 ¾ x 27 ½ x 17 ¾ inches, 2024. [background] Out of Golden Rays of a Fertile Summer Sun, Photograph on Canson Platine Fibre Rag, 55 x 46 inches, 2024.

On the heels of Thomas Schutte’s career survey show at the Museum of Modern Art MoMA The Museum of Modern Art the Germa...
17/02/2025

On the heels of Thomas Schutte’s career survey show at the Museum of Modern Art MoMA The Museum of Modern Art the German artist’s provocative ‘Women’ sculpture series from the late ‘90s to 2006 at Gagosian Gallery Gagosian invites viewers to take a closer look at one of Schutte’s most engaging and uncomfortable bodies of work. Arranged on cold, steel tables in reclining poses like odaliques, familiar from countless paintings and sculptures throughout European art history, the figures signal failure (one figure is pressed flat as if by a giant hand) and trauma (a rigidly tense gingerbread man-like cutout flings an arm into the air). A deflated sculpture with mask-like face and melting limbs recalls the distortions of Picasso’s n**es while others recall Henri Matisse’s or Aristide Maillol’s posed women. Reacting in the past to the constraints inherited by a post-war German artist, Schutte has presented models or proposals as artwork. Similarly, the Frauen exist on uncertain ground, both challenging and reinforcing objectification of the female form at a scale and a degree of polish that defies audiences not to engage. (On view through Feb 22nd).

Thomas Schutte, Bronzefrau Nr. 13 (Bronze Woman No. 13), bronze on steel table, 70 ¾ x 98 3/8 x 49 1/8 inches, 2003.

Green rubber playground flooring transports visitors into an unexpected perceptual experience in Camille Henrot’s first ...
14/02/2025

Green rubber playground flooring transports visitors into an unexpected perceptual experience in Camille Henrot’s first New York solo show of playfully odd sculpture at Hauser and Wirth Gallery Hauser & Wirth . Marked with a matrix-like grid that’s calming yet at the same time reminiscent of a guillotine paper cutter, the pattern reinforces the artist’s ongoing interest in the structures that organize society. Paintings inspired by etiquette books, sculpture that looks like abacuses (both the kind used as tools and children’s toys) and this group of dogs on leashes offer varied takes on relationships and power relations. (On view in Chelsea through April 12th).

Camille Henrot, installation view of ‘A Number of Things’ at Hauser & Wirth Gallery, Feb ’25.

Sixty years after his death, Italian artist Giorgio Morandi’s enigmatic still life paintings continue to exert remarkabl...
12/02/2025

Sixty years after his death, Italian artist Giorgio Morandi’s enigmatic still life paintings continue to exert remarkable influence. Coming on the heels of a much-talked-about show of the artist’s work on the Upper East Side by Rome-based Galleria Mattia De Luca last fall, David Zwirner Gallery’s David Zwirner current Morandi survey features work from the Magnani-Rocca Foundation (located near Parma, Italy) collected by musicologist and friend of Morandi, Luigi Magnani. The gallery’s first two rooms show how Morandi rejected organic still life, portraiture and metaphysical interests (akin to Giorgio deChirco and Carlo Carra) to arrive at the still life paintings of everyday objects that would occupy him for over forty years. Here, a cluster of vessels placed precariously close to the edge of a table testify to the artist’s constant experimentations with spatial arrangements and shifting tones. (On view through Feb 22nd).

Giorgio Morandi, Natura morta (Still Life), oil on canvas, 17 3/8 x 18 7/8 inches, 1948.

Four paintings of models in jeans - visible only from thigh to waist - line the wall of Jennifer J Lee’s current show of...
10/02/2025

Four paintings of models in jeans - visible only from thigh to waist - line the wall of Jennifer J Lee’s current show of paintings at Klaus von Nichtssagend Gallery Klaus von Nichtssagend Gallery like products in an online store. Lee’s characteristic small-scale renditions of clothing, food, and people recall and derive from the kind of photographic images we encounter in daily digital life and even the scale of her work - the show’s largest painting is just 22 x 15 inches – operates more in keeping with the size of a screen than an expansive picture plane. Nevertheless, painted on thick jute, its weave rough enough to suggest pixelation, Lee’s painting are resolutely material, smartly engaging the phenomenon of image-saturated life one oil painting at a time. (On view in Tribeca through Feb 22nd).

Jennifer J. Lee, Lee jeans, oil on jute, 15 x 13 inches, 2024.

Nick Cave’s stunning sculpture ‘Amalgam (Origin)’ at Jack Shainman Gallery’s Jack Shainman Gallery newly renovated Trib...
07/02/2025

Nick Cave’s stunning sculpture ‘Amalgam (Origin)’ at Jack Shainman Gallery’s Jack Shainman Gallery newly renovated Tribeca location radically scales up the artist’s iconic Soundsuits, wearable sculptures that make sound as they are moved. Designed as a protective gesture in response to the 1992 beating of Rodney King’s by LA police, Cave’s first Soundsuit was made of twigs; this 26’ tall bronze adds full branches in a melding of human and natural forms that reaches nearly to the gallery’s 29’ tall ceiling. (On view through March 29th).

Nick Cave, installation view of ‘Amalgam (Origin)’ at Jack Shainman Gallery, Tribeca, bronze, 309 5/8 x 201 x 227 inches, 2024.

Contemporary renditions of Attica vases rudely merged with modern footwear (high heel pumps and a cowboy boot) by Americ...
05/02/2025

Contemporary renditions of Attica vases rudely merged with modern footwear (high heel pumps and a cowboy boot) by American ceramic artist Francesca DiMattio at the entrance to Stephen Friedman Gallery Stephen Friedman Gallery offer a rethink of traditional genres, as do paintings by British artist Caroline C**n in the artists’ lively, two-person show. While C**n's stylized figures (see Adam and Eve in the background of this photo) challenge notions of idealized bodies, DiMattio continues her imperfect interpretations of the pretty fancies of 18th century Meissen porcelain. Here, the excessively textured surface of this vessel enhances the saccharine effect of a flower-decorated heart, both foils to the built-in cleaning spray bottle that hints at the labor required for comfortable domesticity or art-production. (On view in Tribeca through Feb 26th).

Francesca DiMattio, Meissen Tide, glaze and gold luster on porcelain, glaze and enamel on stoneware pedestal, 31 x 13 x 15 inches, 2025. Background: Caroline C**n, Adam and Eve in Ladbroke Grove, oil on canvas, 59 ½ x 47 5/8 inches, 2007.

Photographer Roe Ethridge takes us to the beach in his latest solo show at Andrew Kreps Gallery a destination not quite ...
03/02/2025

Photographer Roe Ethridge takes us to the beach in his latest solo show at Andrew Kreps Gallery a destination not quite in synch with a New York winter but nevertheless refreshing with its vivid colors and enjoyable in its inclusion of deliberately imperfect subject matter. ‘Rainbow over Shore Front Parkway’ captures a rainbow in a stunning, multi-hued sky over beachfront dunes that have recently been constructed as a massive barricade in an ongoing coastal resiliency project. Nearby, model Irina Shayk in a captain’s hat grins with extra exuberance in an outtake from one of the photographer’s commercial fashion shoots. The aquatic theme continues with this intense image of a candy-colored spray nozzle, caught as it releases a jet of water into a distinctly unnatural, green environment. (On view in Tribeca through March 1st).

Roe Ethridge, Hand with Dramm, UV cured pigment print, 34 x 44 inches, 2023.

Recalling a circular full-room installation in her MoMA MoMA The Museum of Modern Art retrospective last year, An-My Le...
31/01/2025

Recalling a circular full-room installation in her MoMA MoMA The Museum of Modern Art retrospective last year, An-My Le’s ‘Grey Wolf’ series in her current show at Marian Goodman Gallery Marian Goodman Gallery continues to explore immersive environments. While the earlier presentation juxtaposed diverse landscapes and histories, the current exhibition features color views of the stark Montana countryside where large-scale agricultural production and nuclear missile launch sites mark the land. Hung tightly in a small, curved enclosure, the photos situate viewers in a landscape seen from above, a cockpit-like, Gods-eye perspective that points to human impact on the landscape. (On view in Tribeca through Feb 22nd).

An My Le, installation view of Grey Wolf, installation comprised of 7 vinyl prints (each 48 x 64 ½ inches), 2024 at Marian Goodman Gallery.

Visitors to Per Adolfsen’s solo show of colored pencil drawings at Nino Meier’s Tribeca space can shrug off the cold tem...
29/01/2025

Visitors to Per Adolfsen’s solo show of colored pencil drawings at Nino Meier’s Tribeca space can shrug off the cold temperatures outside and bask in the warmth of the Danish artist’s vividly colored landscapes. Having decided to take his practice out of the studio and into the natural world, Adolfsen explains that he depicts scenes that are based on real places but which offer an exploration of emotion through color and his choice of environment. Inspired by Edvard Munch, Paul Cezanne and Caspar David Friedrich, Adolfsen aims to elicit feeling in his audience while prompting respect for the environment. (On view through Feb 8th).

Per Adolfsen, Blanket in a Forest, colored pencil on Hahnemuhle paper, 35 1/8 x 25 5/8 inches, 2024.

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