installation view – Page 2

March 16, 2026March 16, 2026, by Noa Charuvi

Call Of The Mountain

In Cynthia Daighnault’s exhibition at Olney Gleason, the walls are covered with different versions of the same subject: Denali, the tallest mountain in North America. A natural wonder and a national treasure at risk, Denali has lost over 60 percent of its glacier mass, and rising temperatures have accelerated permafrost thaw and disrupted local ecosystems, directly affecting the wildlife that depend on it. The paintings in this exhibition preserve their likelihood like the sculpture of the last three rhinos (by Gillie and Marc, now installed at 441 Ninth Avenue), but this documentation of endangered species contains an underlying criticism of American megalomania, without escaping the artist’s own American identity and ambitions. A big, beautiful white thing, Denali’s demise mirrors the nation’s uncertain future and the accumulative effect of its past.

March 2, 2026March 20, 2026, by Mer Mora

Cathleen Clarke: The Past Won’t Stay Put at Margot Samel

It had just rained in New York City when the smell of wet grass and pine in Central Park transported me somewhere else entirely: back in my hometown, a place I hadn’t lived in for a decade. I could’ve sworn I heard the same birds I woke up to every morning. The reminiscence was completely involuntary, but for a few seconds, I found myself caught inside an instant that felt like a different lifetime. This is the feeling that Episodes, Cathleen Clarke’s new exhibitionat Margot Samel, creates. There is no nostalgia or comfort, but instead, the disorienting realization that the past has intruded on the present uninvited.

February 17, 2026February 17, 2026, by Chunbum Park

FanFlus: a cross-cultural curatorial collective

Soft Instructions, Yshao Lin, Soomin Kang

Fanfan Yuxuan is a New York–based curator who has worked with galleries and art fairs in Paris and New York. Through this experience, she became attentive to how exhibitions shape the presentation and understanding of artists’ work, and to the gaps that can emerge between artistic intention and exhibition context. Fan develops projects that create platforms for artists, including those connected to graduate programs in the New York metropolitan area, and approaches curating as an evolving practice informed by collaboration and the logistical realities of exhibition-making.

December 3, 2025December 6, 2025, by Peter Schroth

Tom McGlynn: This Here at Rick Wester Fine Art

Tom McGlynn, *This Here*, installation view, Rick Wester Fine Art, New York

Tom McGlynn continues to grow a decade-long train of thought with a new selection of paintings in This Here at Rick Wester Fine Art. Consistent with his oeuvre, he arrays a selection of color rectangles suspended within various fields of color. An acquaintanceship with the origin of this direction, accompanied by a fresh pair of eyes, will enable a viewer to put aside the parallels with Mondrian, Albers, or even Hans Hoffmann, and see these works anew.

November 25, 2025November 25, 2025, by Taylor Bielecki

Frank Lind: Time and Tide, Homage and Seascapes at Georges Berges

*MLK, 2000, Seascapes and Studies, Oil on canvas. 60 x 50 in. Photo courtesy of Georges Berges Gallery*

Getting to see the works of Frank Lind in person gives you an experience of a moment, the capture of a motion, and the building up of an atmosphere. Lind works “en plein air” within nature. Capturing immediate impressions and moments that captivate him, he then carries sketches to canvas. Stemming from the on-site sketches, the larger studio works take on a glow. Using traditional oil painting processes and many old master methods, both of Lind’s series displayed in this exhibition show the end result of a painter’s process.

October 21, 2025October 20, 2025, by Taylor Bielecki

Johnny g mullen: Rehearsals in Movement

Installation View, (photo courtesy of Yanmei Jiang)

Walking into Peninsula gallery, an intimate space in the Two Bridges neighborhood, viewers are greeted with the energetic and punchy paintings in Johnny Mullen’s solo show- rehearsals in movement. Mullen has pinpointed his focus on layering paint, motion, and plays with both transparency and opacity in this new series. With the gallery itself being so intimate, you get a close and personal view of the works, a deeper look that proves very rewarding. Meandering from one painting to the next, each of a consistent size, you get to join mullen on his explorations within each piece. Expanding from his interest in color theory, Mullen has added an expanded investigation of layering and gesture within the pieces.

October 13, 2025October 7, 2025, by Etty Yaniv

Frances Smokowski at Cavin-Morris Gallery

In Dialogue

Installation view, Cavin-Morris Gallery, photo courtesy the artist

In 2017, during post-concussion recovery and before considering any public audience, Frances Smokowski began drawing as part of her wellness routines. She knew even then that the work could one day be useful and inspiring to others, and she never felt it existed only for her. Pandemic-era synchronicities later led to gallery representation, confirming that this is the moment for her bio-glyphics and energy-scapes to come forward.

October 2, 2025October 3, 2025, by Laurie Gwen Shapiro

Double Vision: One Artist, Two Solo Shows, Double the Stripes

Portrait of the artist, photo courtesy of Elizabeth Haynes

In early September, painter Deborah Zlotsky pulled off what few artists even attempt: two solo shows opening at once, on opposite sides of Manhattan. The Light Gets In filled McKenzie Fine Art on the Lower East Side, while Genealogies took over Kathryn Markel Fine Arts in Chelsea. A double dip in one city, on one calendar page. It might sound like a scheduling accident, yet standing in front of her candy-striped canvases, the simultaneity feels deliberate. Zlotsky thrives on overlap: order brushing against disorder, geometry trembling at its edges, patterns that carry memory while stumbling into the present.

October 1, 2025September 29, 2025, by William Corwin

Getting to the End of the Line: Sol LeWitt and Phong Bui at Craig Starr

Installation View. Phong H. Bui and Sol LeWitt. Craig Starr Gallery (1)

For both Phong Bui and Sol LeWitt, the line is a democratizing gesture. The line as a line: a mark; steering focus towards the method of an image’s creation rather than convincing the viewer of the realism of its ultimate subject. And, at least for both of these artists, this means we begin to deal with units. With LeWitt, the unit is the geometric shape — a square, cube, or even a diagram-a nugget of information, often placed within another diagram, offering multiple levels in the narrative of the work’s process and arrangement.

September 28, 2025September 28, 2025, by Etty Yaniv

Extreme Whether Show at Icebox4

Featured Exhibition

With only a few days left before it closes on October 4, Extreme Whether Show at Icebox4 offers a gathering of 21 artists responding to the turbulence of the present. Curated by Tom Fitzgibbon, the exhibition unfolds less as a single argument than as a shifting field of voices, unsettled, layered, and in dialogue.