The Patriot (Installation View), via O’Flaherty’s

O’Flaherty’s, the gallery project of painter Jamian Juliano-Villani, has, in its short time, has built a reputation for challenging and engaging shows, operating a program that has made the small gallery a central voice in the representation of young artists and historically resonant projects overlooked by larger galleries. It should be no surprise then, that the pioneering space would take an equally iconoclastic and engaged approach to the summer groups show, lampooning the format with The Patriot, an open call exhibition that has packed the gallery to the gills with art for the past month.

The Patriot (Installation View), via O’Flaherty’s

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Raoul de Keyser, Come on, play it again nr. 2 (2001), via David Zwirner

On view through the end of this week at David Zwirner’s Hong Kong location, artist Raoul de Keyser presents a selection of works the continues and elaborates on a previous show at the gallery in 2021. Among the notable works that will be on view are representative paintings from the Belgian artist’s seminal Come on, play it again; Hal, and Hayward series, made during the height of his career, from the middle of the 1980s to the 2000s. Read More »

Cayetano Ferrer, Surrogate Pylon Display Unit (replica) (2015-22), via Petzel

Marking its entry in a summer of group shows, Petzel Gallery’s uptown space hosts Commonwealth and Council, a show dedicated to the Los Angeles gallery of the same name, celebrating over ten years of work supporting young artists and the growth the gallery has seen in recent years. Founded in 2010, Commonwealth and Council has committed itself to a dynamic program building counter-narratives that reflect individual and collective realities. On view here, artists Cayetano Ferrer, Gala Porras-Kim, Nikita Gale, rafa esparza, and Suki Seokyeong Kang, showcase interests and focuses on the underrepresented, acknowledging that meaning occurs at a host of myriad idiosyncratic registers—and propose alternative modalities of knowledge, speech, and value systems. Read More »

Hugh Hayden, all images via Art Observed

Lisson Gallery wades into summer group show month with The odds are good, the goods are odd this year, a group exhibition that highlights a new generation of New York-based sculptors. Bringing together artworks across a range of mediums, the presentation showcases the divergent ethoses behind sculpture-making today. The featured artists favor the handmade, creating a spectrum of artworks that range from the polished and conceptual, to the raw and visceral. Read More »

Barbara Kruger, Untitled (Your body is a battlefield) (1989/2020), via David Zwirner

Barbara Kruger makes her first outing with David Zwirner Gallery this summer, marking her inaugural show with the exhibitor three years after announcing she was joining the mega-gallery. Spanning the gallery’s three locations on West 19th Street in New York, the show is a monumental review of her work, and quite a timely one. Kruger powerfully and directly engages with viewers through a distinctive visual language, utilizing images, text, and technology as tools of communication to reveal and question established power structures and social constructs, challenging power structures through their direct address. Read More »

Andreas Gurksy, Bauhaus (2020), via Art Observed

On view this summer at Gagosian New York, photographer Andreas Gursky compiles a selection of both new and recent images, continuing his documentation and exploration of the landscape of modernity. Gursky’s large-scale photographs evoke the global flow of information, the chaos of contemporary life competing with the classical desire for order. He portrays the visual extremes of the present moment with an objective eye, capturing built and natural environments on a grand scale in richly detailed images of autobahns and cruise ships, mountains and waterfalls. While comparable in their scope to early nineteenth-century landscape paintings, Gursky’s works retain the precision of photography. Many have been digitally manipulated, and often reveal a sensitivity to the damaging effects of human systems on the natural world. Read More »

Catechism (Installation View), via Bridget Donahue

Throughout the layout of the current group exhibition at Bridget Donahue, one can’t help but trace the works as a series of pointing arrows. Bright colors and strange, lumpen arrangements seem to trade barbs with each other, while other works create a series of conversations on typography and text, design and craft. In each case, the show seems to tug at a series of half-ideas, as if allowing the show to breathe anew in each moment of encounter.

Evelyn Reyes, Four Carrots, Pink (2004-2009), via Bridget Donahue

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Robb Pruitt, Avery (2022), via 303 Gallery

On view this month at 303 Gallery, a body of new work by Rob Pruitt marks a continuation of the artist’s mining of the tension between comic renditions, heightened emotional states, and deep, rich engagements with the history of pop art, all centered around his latest series of Face paintings. Read More »

Sarah Ortmeyer, DAVID (2022), via Galerie Eva Presenhuber

Combining together a series of works and a range of different approaches and series from her practice, artist Sarah Ortmeyer presents a selection of pieces at Galerie Eva Presenhuber this month, united under the title SPORTS CLUB NEW YORK. 

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Oli Epp, Surrogate (2022), via Perrotin

On view this month at Galerie Perrotin, artist Oli Epp collects a range of works that mine a strange and otherworldly relationship with the language of painterly figuration and abstraction. Presenting a series of tightly constructed images that twist and warp bodies into playful new iterations, his works on view moving from human figures to animals to objects, always returning to the same deconstructive approach.

Oli Epp, Dead Center (2022), via Perrotin

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