Art audiences have come to expect a Judy Pfaff exhibition to be a dazzling, immersive, thought-provoking experience, and Light Years, an exhibition of thirteen recent works, does not disappoint. 

Rather than take the elevator, viewers might be advised to climb the stairs to one of Alexandre’s upper-level galleries in this elegant townhouse to view Ornithology, an exhibition of paintings and works by Stephen Westfall spanning the past fifteen years.

Visually stunning and conceptually ambitious, the Sky High Farm Biennial is an engaging new addition to the ever-growing mid-Hudson Valley contemporary art scene.

Widely regarded as an elusive multidisciplinary artist who traverses abstraction, figuration, photography and performance, Lucio Pozzi defies easy categorization. Throughout his six-decade career, his art has thwarted conventional art-historical analysis and sidestepped trends in critical art theory.

In the 1990s, Catherine Howe was known for an idiosyncratic kind of figurative painting, with expressive brushwork, heightened color, and exaggerated forms. By the turn of the twenty-first century, the New York-based artist had shifted focus to a more abstract visual language, albeit using Dutch still-life paintings of the Golden Age as reference points and source imagery for expansive compositions made of countless layers of oil, beeswax, metal leaf, and other materials.

For his New York solo debut, Jimi Kabela presents more than forty dense and intense recent abstract oil paintings loaded with colorful gestural markings. Appropriately titled Amalgamation, the exhibition features works that appear as composites of forms and gestures, neither random nor programmatic.

There is a palpable centrifugal force in the works in Above and Below, Rico Gatson’s exhibition at Miles McEnery Gallery. These colorful, hard-edge compositions of stripes, circular forms, triangles, and other geometric shapes generate a pulsating energy, suggestive of portals to some other spatial and spiritual realm.