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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.

04/09/2024

Billed as a ‘museum of art and technology,’ Mercer Labs Mercer Labs has generated buzz since opening in Spring ’24 across the street from the Oculus Transportation Hub in lower Manhattan. The 15-room immersive experience is a partnership between Roy Nachum, an NYC-based multi-media artist whose work has ranged from cover art for Rihanna’s 2015 ‘Anti’ album to photorealist portraiture collaborations with blind individuals, and developer Michael Cayre. In its current iteration, all rooms have been programmed with Nachum’s work, offering essentially a museum-sized solo show designed to overwhelm the senses with projected images in mirrored rooms. Signage in braille, an audio installation and a display of portraits previously shown at Chelsea gallery ‘A Hug From the Art World,’ nod to Nachum’s interest in creating accessibility for people who are sight-impaired, though the overall experience is designed to overwhelm visually. Here, in a room titled ‘The Dragon,’ 507,000 LED lights powered by Dragon02 technology developed by the company Ledpulse create images via vertically-hung strings of LED lights. Mirrored walls, floor and ceiling amplify the effect, which Mercer Labs describes as like ‘passing through a hologram.’ (On view at 21 Dey Street. Tickets at https://www.mercerlabs.com).

03/09/2024

Sketches of flowers, two conversing birds, an eye, a huge drawing of a house and other line drawings are realized as free-standing steel sculpture in Met Museum’s The Metropolitan Museum of Art, New York current Roof Commission by Kosovan artist Petrit Halilaj. Titled ‘Abetare,’ after a textbook the artist used in school to learn the alphabet, the installation’s monumental size is belied by its delicate and casually rendered forms, all based on drawings the artist found on school desks in Kosovo and other Balkan countries. Prompted by the planned demolition of his old school, one of the few buildings that remained from the artist’s war-torn hometown, Halilaj preserved the markings of kids from years past, creating a language of drawings that expresses the thoughts and experience of young people. (On view through Oct 27th).

30/08/2024

Don’t Forget to Call Your Mother, a compact show of photography from the 70s onward from the Met Museum’s The Metropolitan Museum of Art, New York collection, showcases complex portraits built from pieces of information rather than a traditional physical likeness. Snippets from Larry Sultan’s family’s home movies and an image of a solitary bathrobe by Sophie Calle point to specific memories that shaped an individual’s identity, while Darrell Ellis worked with his late father’s photo archive and Sadie Barnett creates a neon-edged photo collage memorial to San Francisco’s first Black-owned gay bar, owned by her father. Annette Messager’s collection of small, framed photos of eyes, mouths, torsos and other body parts arranged against the wall in a dense, circular cluster by twine and nails creates a collective portrait of an unknown group. Titled ‘My Vows,’ the images suggestively connect belief and the body. (On view on the Upper East Side through Sept 15th).

Annette Messager, My Vows (Mes Voeux), 106 gelatin silver prints, bound between glass and cardboard, black tape, twine and acrylic push pins, dimensions variable, 1990.

28/08/2024

Near a text describing City Hall Park as the ‘refuge of the people, the cradle of liberty,’ Native American artist Cannupa Hanska Luger’s steel sculpture of a bison skeleton recalls the deliberate mass slaughter of the animal from the mid-to-late 19th century. Part of the Public Art Fund’s Public Art Fund annual art programming in the park, the solitary sculpture is smaller than past installations but meaningfully and impactfully placed at the park’s dramatic southern entrance. Titled ‘Attrition,’ the piece speaks to sustained attack on the lives and culture of Native American peoples by the near eradication of bison, yet the bison skeleton’s mechanical, plated design and obviously durable material conveys strength and resilience. (On view through Nov 17th.)

Cannupa Hanska Luger, Attrition, cast steel, 2024.

26/08/2024

Semi-hidden under the Met Museum’s The Metropolitan Museum of Art, New York central interior staircase, the atmospheric Byzantine Crypt is host to the exhibition ‘Afterlives,’ a show of contemporary art that engages with life after death. Tavares Strachan’s ‘ENOCH,’ titled after the Biblical character who, rather than dying was ‘taken up,’ is one of the show’s standout pieces, a monument to Robert Henry Lawrence Jr., the first Black American astronaut who died in a flight crash in 1967. The small bronze sculpture resembles an Egyptian canopic urn, a vessel intended to hold partial remains of a deceased person, but is surfaced in gold, adding to the precious quality of the piece. An edition of the sculpture was launched into space as a small, 3U satellite in 2018, symbolically completing a final mission. (On view through Jan 25th, 2026).

Tavares Strachan, ENOCH (display unit), bronze, 24k gold, steel, radar retroreflectors and sacred air blessed by a Shinto priest, 14 3/8 x 3 ½ x 4 1/8 inches, 2015-17.

23/08/2024

If figures appear at all in Praxis NY’s Praxis New York summer group show ‘Missapes,’ they pose in place or rarely dominate. Instead, still lives are a commanding presence, particularly Francisco’s Ratti’s large indistinct arrangements of objects that simultaneously look low-res digital and handmade. The Argentina-based artist’s practice involves drawing on a cell phone screen, then transferring his images to canvas. Here, ‘Naturaleza’ (Nature) is a pleasant, conventional arrangement of flowers, plants and food stuffs but includes a more realistic painting of a tree trunk inserted onto the larger painting’s surface. Gashed and supporting a haphazard sign warning that a property is being monitored, the tree imagery complicates what a painting can offer at one time. (On view in Chelsea through Aug 30th).

Francisco Ratti, Naturaleza, acrylic on canvas, 59 x 78 ¾ inches, 2023.

21/08/2024

Art and life meld in Paula Wilson’s engaging, pattern rich paintings and print work at 55 Walker as she depicts domestic environments and desert landscapes like those around her home in the small town of Carizozo, New Mexico. Images of rugs on canvas, attached to wooden slats and mounted on the wall, depict plants, abstractions or entangled lovers while paintings of stained-glass windows are simultaneously images of an interior, glass art and a landscape beyond. Wilson, who prints and sews her own clothing, gives this towering figure a dress created from a cinched rug painting, further connecting various creative endeavors in one fertile practice. (On view in Tribeca through Aug 30th).

Paula Wilson, Becoming, acrylic and oil on canvas, 162 x 52 inches, 2024.

19/08/2024

Glued, punctured, protruding and sewn artworks in Chart Gallery’s CHART summer group show ‘Facture Fracture’ focus on the active hand of the artist. Sam Branden’s contributions – combinations of hand-sewn canvas, textiles and mesh spandex - immediately grab the attention for their bold, fiery colors and improvisational feeling. Recalling materials close to the body, a la Anthony Olubunmi Akinbola’s durag fiber works, and recent pieces by Erin Mack that allow inspection of the support frames beneath fabric ‘paintings,’ Branden’s constructions balance substance with weightlessness, the grid with an unmoored and changeable surface. (On view through Aug 24th).

Sam Branden, Tulip Trapping, acrylic stain on hand-sewn canvas, textile, mesh spandex, 72 x 50 inches.

16/08/2024

17th century Dutch painter Gerard Seghers’ painting ‘The Dream of Saint Joseph’ pictures Christ’s father asleep, whereas Brittney Leeanne Williams’s remake of the historic painting now on view at The Hole NYC features herself in Joseph’s role, wide awake and deep in contemplation as she experiences divine visitation. Though Williams’ painting swaps out an angel with wings for a more enigmatic figure, the narrative of artistic inspiration is clear thanks to the blazing lightbulb at her side that shines light on her sketchbook and related paintings. Surreal and appearing to take place in the dark of night, Williams’ contemporary moment of illumination adds to the long trajectory of art history and blazes a new path into the future. (On view in ‘Monomythology’ at The Hole NYC through Aug 24th).

Brittney Leeanne Williams, Dream of St Joseph (after Gerard Seghers), oil on canvas, 64 x 88 inches, 2023.

14/08/2024

A father and child floating in a lake, a swimming snake in still water and surfers in the waves are pictured from above, while a baby, a shark and swimmers in a pool are pictured from below in six different, strikingly intimiate photographs in Yancey Richardson Gallery’s Yancey Richardson Gallery arrestingly beautiful summer group show ‘Immersion.’ Here, Dutch photographer Hellen van Meene recreates John Everett Millais’ 1851 painting ‘Ophelia’ from Shakespeare’s ‘Hamlet.’ Looking slightly more composed and decidedly more alive than the 19th century version, this retelling of the story seems to offer hope that Ophelia will soon rise up magically or of her own will. (On view through Aug 16th).

Hellen van Meene, Untitled #544, chromogenic print, 27 ½ x 27 ½ inches, 2022.

12/08/2024

Millions of 3x5 index cards stacked into shapes like termite-mounds and Styrofoam cups clustered on the ceiling to form a giant cloud are among Tara Donovan’s most memorable past installations, serving to make her the master of the accumulated-object-turned-artwork. For her current show on the 7th floor of Pace Gallery’s Pace Gallery Chelsea headquarters, Donovan turns mountains of CD-ROM disks into elegant towers that echo the skyscrapers of Hudson Yards out the window. Attractive and – as always - begging the question of how the artist and her team had the patience to construct such labor-intensive structures, the new work’s recycled sensibility turns trash into treasure. (On view through Aug 16th).

Installation view of ‘Stratagems’ at Pace Gallery, July 2024.

09/08/2024

Exiled from the Philippines during the Marcos dictatorship for her political activism and later known for artwork inspired by her status as an immigrant and world traveler, Pacita Abad’s textile paintings of coral reefs are geared towards pure visual pleasure. ‘Underwater Wilderness,’ a show of brilliantly colored fabric works created in the mid to late 80s and now on view at Tina Kim Gallery Tina Kim Gallery in Chelsea, features scenes from the 80 dives she took around the Philippines after overcoming a fear of the water. Using a style of quilting involving paint and collage on canvas, Abad introduced materials including glitter, sequins and buttons to create vibrant, 3-D visions of the world below the surface. (In view in Chelsea through Aug 16th).

Pacita Abad, Dumaguete’s Underwater Garden, oil, acrylic, glitter, gold thread, buttons, lace, sequins on stitched and padded canvas, 85 ¼ x 118 inches, 1987.

07/08/2024

Late Sao Paola tapestry artist Norberto Nicola’s untitled hanging abstraction in Kasmin Gallery’s Kasmin Gallery summer group show ‘Crossings’ is a standout among the varied and lively woven and textile-based works on view. Influenced by Magdalena Abakanowicz’s huge woven sculptural forms, Nicola developed his own hanging fiber artworks that rise up from the flat surface in various dynamic arrangements. (On view through Aug 9th).

Norberto Nicola, Untitled, wool, natural fibers and pigments, 98 3/8 x 59 inches, ca 1980s.

05/08/2024

Like his installation ‘Who is Queen?’ in MoMA’s MoMA The Museum of Modern Art towering atrium in 2021, Adam Pendleton’s current solo exhibition at Pace Gallery Pace Gallery , titled 'An Abstraction,' immerses visitors in a structured installation of dynamic forms. Describing this show’s arrangement itself as an artistic decision, Pendleton designed a series of elegant, black triangular walls to support his abstractions, causing viewers to find their own paths – and interpretive experiences - through the gallery. Drawing on his ongoing elaboration on his concept of ‘Black Dada,’ for which he has assembled a reader, Pendleton’s work engages the early 20th century Dada art movement’s attempted avoidance of rational thought while considering the relationship of Blackness to European avant-garde practice. ‘An Abstraction’ foregrounds the physical experience of the viewer, offering vantage points from which to consider his language of abstraction and how we process meaning in the moment. (On view in Chelsea through Aug 16th).

Adam Pendleton, installation view of ‘An Abstraction’ at Pace Gallery.

02/08/2024

Parallel to the panels of the folding screen to the right, the objects and people in Sally J. Han’s painting ‘Grandma’s Color Television’ (a standout in the summer group show ‘The Selves,’ at Nicola Vassell Gallery Nicola Vassell Gallery ) lead the eye back into private, domestic space that suggests insights into the artist’s life. A glass dish in the foreground brings viewers to a young woman in a traditional Korean robe (Han was born in China and raised in Korea before moving to the US at age 17) and beyond to her grandmother, dozing in front of the TV. On the room’s back wall is a painting of a celestial body that recurs in Han’s work, in one earlier work hovering over the protagonist as she lies in bed. Children’s drawings on the wall nearby speak to creative production over time. Spare and tranquil, the environment suggests reflection; gorgeously colored clothing, a brightly lit space and ripe fruit on the screen and in the young woman’s hand speaks to the pleasure of the senses. (On view in Chelsea through Aug 9th).

Sally J Han, Grandma’s Color Television, acrylic paint on paper mounted on wood panel, 60 x 48 inches, 2024.

31/07/2024

Asya Geisberg Gallery’s Asya Geisberg Gallery summer group show ‘Cover Band,’ curated by gallery artist Gabriela Vainsencher, features artwork by fourteen artists whose work playfully engages with their artist forebears. Rebecca Morgan recasts Artemisia Gentileschi’s Penitent Magdalene as a self-portrait of the artist, bug-eyed and suffering from ailments including the effects of the ADHD medicine shortage. Elisa Soliven remakes and updates an intriguing square-bodied torso made by an unknown neolithic artist while here, 20th century German-Brazilian artist Eleanore Koch’s ‘Study for a Dreaming Palm Tree’ appears through a window of Lisha Bai’s hanging fabric work, as Bai retains but complicates Koch’s pared down style. (On view in Tribeca through Aug 16th).

Lisha Bai, View of Estudio para Palmeira Sonhando, linen, ramie and voile, 74.5 x 57 inches, 2024.

29/07/2024

Inspired by a 1964 short story by John Cheever in which the main character decides to swim home via a series of privately owned pools, FLAG Art Foundation’s The FLAG Art Foundation summer group show, curated by Jonathan Rider, includes work by well over two dozen artists who picture mostly unpeopled pools and bodies of water. Here, Cynthia Talmadge’s ‘Pool,’ recalls winter days when the water is less inviting. Nearby, the sense of absence continues with Elmgreen & Dragset's piece composed of two pairs of Calvin Klein men’s underwear nestled in two pairs of discarded 501 jeans and Zoe Crosher's photos of sites where real or fictional people have gone missing. Martin Boyce’s faux leaves, scattered on the floor and titled ‘Evaporated Pools’, reinforces the out-of-season feel to a summer group show that goes against the grain of summer fun, instead conveying a contemplative quiet that offers its own pleasures. (On view in Chelsea through Aug 9th).

Cynthia Talmadge, Pool, oil on canvas, 36 x 48 inches, 2022.

26/07/2024

Melissa Cody’s ‘Dopamine Dream,’ a standout in Luhring Augustine Gallery’s Luhring Augustine summer group show ‘Patterns,’ offers the pleasure alluded to in its title via vibrant color and complex patterning. Though Cody is a fourth-generation Navajo weaver who works on a traditional loom, she also codes jacquard weavings, allowing her to experiment with additional colors and forms. Traditional Navajo iconography, like the multiple crosses seen here referring to Spider Woman, mixes with a sense of space made more complex by the influence of video games and the digital realm. (On view in Chelsea through Aug 2nd).

Melissa Cody, Dopamine Dream, Jacquard wool tapestry, aniline dyed wool fringe, 51 ¼ x 60 ½ inches, 2023.

24/07/2024

LA artist Samara Golden turns conventional space on its head in immersive installations like her memorable show at CANADA Gallery in 2015, for which she employed mirrors, an elevated walkway and tables and chairs affixed to the wall to suggest an event space from a parallel dimension. A fragment related to that body of work is a standout in Marianne Boesky Gallery’s Marianne Boesky Gallery summer group show ‘Material World,’ curated by Gina Beavers, another artist whose paintings and installations spring off the wall with their bold, often humorous imagery. The show includes an aluminum textile-like wall work by El Anatsui, a geometric sculpture made of quilts by Sanford Biggers and a painted ceramic ice cream dessert by Claes Oldenburg, all of which have been inspirations for Beaver’s work and which act as an enticing prelude to her upcoming show in September. (On view through July 26th).

Samara Golden, Missing Pieces from A Fall of Corners #7, foam, plastic, glue, paint, 89 x 89 x 32 inches, 2015 – 2024.

22/07/2024

Art and science converge in Hiroshi Sugimoto’s new body of work at Chelsea’s Lisson Gallery Lisson Gallery where the renowned photographer has photographed light, refracted through a prism into separate colors. Helpfully demonstrating Sugimoto’s working process in making images of pure color or zones between colors, a huge prism positioned under a gallery skylight fractures light into a rainbow on the floor. (On view through Aug 2nd).

Installation view of ‘Optical Allusion,’ at Lisson Gallery, June 2024.

19/07/2024

A shocking pink wall, lime green front desk and aqua-colored chair greet visitors to Mary Heilmann’s show at Hauser & Wirth Gallery Hauser & Wirth , creating a bold statement not quite in keeping with the subtlety of the exhibition’s content - small-scale work on paper from the 70s to the early ‘00s. Nevertheless, one of the show’s smallest pieces, a black and blue watercolor and pencil drawing that brings to mind a game board, an overview of a pool or architectural forms, inspired Heilmann’s new, hugely enjoyable wall-filling new site-specific drawing, ‘A Long Lost Soul.’ (On view through July 26th in Chelsea).

Mary Heilmann, installation view of ‘A Long Lost Soul, acrylic on wall, 168 x 349 ½ inches, 2024 and Untitled Watercolor Study, watercolor and pencil on paper, 5 x 7 inches, 1982-84 c.

17/07/2024

If you’ve ever enjoyed exploring MoMA’s PS1 MoMA PS1 , an art space housed in a former Queens public school, you’ll love rambling around the atmospheric new 78,000 sq ft art space 'The Campus,' housed in a former high school just outside Hudson, NY. Work by nearly 100 artists, mostly represented by NYC galleries Bortolami Bortolami , James Cohan James Cohan , kaufmann repetto Kaufmann Repetto Gallery, Anton Kern Anton Kern Gallery, Andrew Kreps Andrew Kreps Gallery and kurimanzutto Kurimanzutto fills the gym, hallways, classrooms and grounds around the large, low-slung, 1951 building. Organized by Timo Kappeller, the handsomely installed inaugural show includes a metal butterfly sculpture by Kosovar artist Petrit Halilaj (whose sculpture inspired by graffiti on school desks is currently on the roof of the Met Museum), text pieces by Jenny Holzer (currently showing at the Guggenheim) installed in a boys shower room, Madeline Hollander’s perpetual rolling metal knots (recently part of her solo show at Bortolami) and much, much more. (Admission is free. Hours: Saturday and Sunday, 12pm – 5pm. On view through Oct 27th.)

15/07/2024

Mika Tajima’s winter ’24 solo show at Chelsea’s Pace Gallery Pace Gallery featured Jacquard loomed tapestries so large that the gallery referred to them as ‘architectural;’ the artist’s current solo show at the Hill Art Foundation Hill Art Foundation takes the concept a step further in its handsome integration of artwork and the gallery space. Here, a new work from Tajima’s ‘Negative Entropy’ series – referring to an application of energy to move away from disorder – dominates a floating wall, enhancing the dynamic effect of the wave pattern depicted in purple and yellow. Past pieces from the series indirectly picture sound waves from computer activity or brain stimulation; here, the subtitle ‘Sound Bath…’ suggests a visualization of a healing activity, purposeful if abstracted. (On view through July 26th).

Mika Tajima, Negative Entropy (Sound Bath, Purple, Full Width, Exa, cotton, polyester, wool, acoustic baffling felt, aluminum, white oak, 131 x 212 ½ x 3 ¾ inches, 2024.

12/07/2024

Known for imagining idiosyncratic characters from dreamed up worlds, Brazilian street-artist twins Osgemeos are back at Lehmann Maupin Gallery Lehmann Maupin with paintings and two installations that fill the gallery with vivid color and sound from a built-in DJ booth. Pictured here, the gallery’s west wall houses a mystical architectural construction presided over by a n**e man whose body has split in two to reveal a glowing inner self. To either side, a celestial goddess holds a planet in her hand while a man whose head in encircled by flower petals smiles serenely. In the sky, two heads circled by colorful lights – one of which is emerging from a UFO – light up the already bright skies over an installation that delights and entertains. (On view in Chelsea through Aug 16th).

Osgemeos, installation view of ‘Cultivating Dreams,’ at Lehmann Maupin Gallery, June 2024.

10/07/2024

Diamond Stingily’s ‘Entryway’ sculptures, two of which are on view in her current solo show at 52 Walker, feature a well-worn front door, held upright in the gallery space and supporting a baseball bat. Inspired by her grandmother’s practice of keeping a bat against the door for protection, Stingily rejects narratives of victimization in favor of female agency. In other work, the artist sets closets into the gallery wall, their familiar louvered doors signaling the intimate space of the bedroom. Open to reveal a collection of bats, a stack of bricks or a row of identical white shirts, the objects inside and accompanying articles from the newspaper-lined closet walls touch on a variety of topics, several to do with the exploitation or protection of female bodies. (On view through Sept 14th in Tribeca).

Diamond Stingily, Entryway (City), door, bat and hardware, overall dimensions variable – as installed: 82 x 33 ½ x 83 inches, 2024.

08/07/2024

Nature supplies materials and inspiration to the artists in James Cohan Gallery’s James Cohan 2-venue summer group show ‘Mother Lode: Material and Memory,’ an engaging and diverse exhibition that elicits sensitive regard for the environment. Yu-Wen Yu’s ‘Acculturation III,’ composed of 143 gilded tea leaves arranged in a grid on the wall, is a standout in the show, and ruminates on the artist’s experience after she arrived from Taiwan to the US as a child. Using tea – a material related to her family life in both locations – in arrangements that individually recall letters or collectively resemble an instructional diagram, Wu’s piece speaks to both similarity and uniqueness of each segment of tea branch, all encased in a precious material that testifies to the value of individual and group. (On view through June 26th).

Yu-Wen Wu, Acculturation III, 143 gilded tea leaves, metal pins, 10 x 96 inches 2022 – 24.

05/07/2024

Known for repurposing industrial and scrap materials into bold sculptural installations, Virginia Overton’s powerful show at Bortolami Gallery Bortolami features new work generated from large-scale, deconstructed outdoor signage. Overton’s evocative material aestheticizes objects that were once functional while alluding to continuous urban change and the desire to remember the past. Upstairs, as part of a group show, three of Overton’s Skylight Gem (NYC) sculptures dangle from the ceiling and rest on the floor. Similar to the pieces Overton installed at the Delta Terminal at LaGuardia airport, the sculptures are at once iconic New York emblems, both present in today’s landscape and nostalgic as they point to past lives lived under the skylights. (On view through Aug 30th).

Virginia Overton, Skylight Gem (NYC) coated copper, wired glass, electrical components, (suspended) 36 x 36 x 18 inches and (floor) 35 x 35 x 26 inches, 2024.

03/07/2024

Dogs take the stage in Timothy Taylor’s Timothy Taylor summer group show ‘Dog Days of Summer,’ an exhibition featuring canine-themed artworks by over 50 artists. A few animals play supporting roles to humans, but the majority star in their own performance as they wisely look at to sea (Sean Landers), raise a stream-lined muzzle to pluck fruit from a table (Justin Liam O’Brien) or pose with a halo’ed head while barking (Peter Saul). Here, Will Ryman’s stainless-steel dog shines like a precious object as it raises its elegant head in an expressive howl. (On view through Aug 23rd).

Will Ryman, Sitting Dog, stainless steel, 12 x 9 x 20 inches, 2020.

01/07/2024

Known for fashioning sheets of oil paint into sculptural forms or collaging oil skins into 2-D works, Leslie Wayne turns her medium in a new direction with curiously-shaped canvases at Jack Shainman Gallery Jack Shainman Gallery . Tall, narrow panels 7 feet high and less than 2 feet wide with names like ‘Rush,’ ‘Summer Slope’ and ‘Low Tide,’ at times suggest core samples of the earth and are accompanied by another series of realist paintings featuring aerial views of the landscape set in special frames that mimic airplane windows. Titled ‘This Land’ after Woody Guthrie’s classic folk song, the show was inspired by Wayne’s 2021 flight across the Western US and offers views of the landscape, distant or abstracted, that step away from divisions and conflict represented by place. (On view in Chelsea through August 2nd).

Leslie Wayne, Summer Slope, oil on wood, 84 x 16 ¾ x 3 ½ inches, 2023.

28/06/2024

Known for banal yet memorable photos like his 1973 image of a diner table set with pancakes, a glass of milk and a half cantaloupe, Stephen Shore’s images of rural and small-town America are now iconic documents of life in the later 20th century. Shore’s latest body of work from his ‘Topographies’ series at 303 Gallery 303 Gallery has been shot by drone, allowing him to pull away from his subjects and picture interactions between the built environment and nature. In one image, a pipeline crosses a road in upstate New York creating an artful X on the landscape while in other scenes, crossroads dominate sparsely populated communities and single-lane roads stretch on into eternity in developments that represent the imposition of human will on the landscape. Here, Shore juxtaposes majestic mountain views in Montana with a gleaming trailer in the foreground to consider contemporary fantasies of living on the land. (On view in Chelsea through July 3rd).

Stephen Shore, Brisbin, Montana, July 30, 2020 45 30.659555N, 110 36.520175W, UV curable ink on Dibond aluminum, 24 x 32 inches, 2020 (printed 2024).

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