TK TK

Relief in Sight celebrates two related occasions: the forty-fifth anniversary of Golden Artist Colors and Walsh’s professional and artistic relationship with the company and its founders, which has unfolded in parallel over the same period.

With the seventeen paintings in Coloratura, currently on view at McKenzie Fine Art, Maureen McQuillan continues her investigations into emphatically material surfaces and visually elusive space.

One of the most striking things about my experience of the paintings in John Zurier’s exhibition Pink Dust was the protraction of time they evoked.

The Shape of Things, currently on view at Garth Greenan Gallery, demonstrates why Feeley’s art deserves a more expansive context than that of an aberrant formalist.

There is a visual grammar distinct to Robert Mangold's paintings in Pentagons and Folded Space, a range of abstract sensations that, with concentration, seemed to recalibrate and refocus my senses, opening the paintings to me. The experience is like learning a language. Through the variety of these paintings, Mangold gives us the fundamentals through which we may become fluent in his spatial and sculptural syntax.

Petrichor (described in the exhibition catalogue by the conservationist Terry Tempest Williams as “the unmistakable scent of rain before it falls”) is Claire Sherman’s fifth show at DC Moore in just over a decade and the first in several years to feature paintings of cliffs, crevices, and caves.

Alice Baber is exceptional among once overlooked, now rediscovered postwar artists, as evidenced not only by the steady momentum that has gathered behind her art in the past year but also by the vitality and persuasiveness of the works on display in Colors of the Rainbow, organized by Jody Klotz Fine Art in collaboration with Leslie Feely Gallery.

Warren Rohrer’s art reflects his deep engagement with and close observation of the rural Pennsylvania landscape that his family first settled in the early 1700s. The twelve paintings in Return to Land at Locks Gallery, dating from the 1970s to the early 1990s, show the subtle changes in Rohrer’s work as he gradually shifted his focus from light to land.

The eight paintings Francine Tint is showing at Upsilon represent a departure from those featured in her previous exhibition at the gallery last year. These are more economical, with open, expansive compositions, zones of raw canvas, and a generally warmer color palette.

The Mitt Paintings is Yares’s third and most concentrated presentation of work by Jules Olitski, focusing on the years between 1988 and 1993. Opulent and luxurious, the Mitt paintings (so named for the housepainter’s mittens used to create them) are works of baroque exuberance, with inches-thick acrylic crests and troughs that belie their unique illusionistic effects.

When standing in the center of Kasmin’s West 28th street space, the seven paintings featured in Zone surround one with moments of stillness and solitude.