Diane Simpson has gained considerable visibility since her retrospective at the Institute of Contemporary Art, Boston in 2015–16 and her inclusion in the 2019 Whitney Biennial. Now—at the age of ninety—she is the subject of a career survey of sculptures and works on paper from the mid-1970s through 2022 at the American Academy of Arts and Letters in upper Manhattan.

The overwhelming sensation that Sigrid Sandström’s nineteen paintings at Anat Ebgi in Tribeca impart is one of movement.

When I encountered Lumin Wakoa’s paintings at Deanna Evans Projects in 2021, I was struck by the way her scumbled paint mapped out forms that seemed to be melting and dissolving into each other.

A short trek into Storm King Art Center brings you to an unassuming installation of rocks lying low in the natural grass, mostly obscured from visibility until you climb the shallow hill on which they sit.

Diana Al-Hadid creates freestanding sculptures, wall-based relief paintings, and works on paper to examine the narrative frameworks that inform human culture. Born in Syria, Al-Hadid immigrated to the United States as a child and grew up in Ohio. On the occasion of her exhibition, unbecoming, at the Eli and Edythe Broad Art Museum at Michigan State University, Al-Hadid joined Elizabeth Buhe on the New Social Environment (Episode #1240). Their conversation, edited for print, touches on a range of topics, including the relationship of the body to architecture, what it means to be unbecoming, and why images of women in motion are so important to the artist.

In her current single-gallery exhibition at the American Academy of Arts and Letters, Teresa Baker presents seven recent works on AstroTurf that draw from these elements in order to pose ambitious questions about how we make sense of the land around us and what painting’s role in this process might be.

Coinciding with New York City’s spring art fairs, Berry Campbell Gallery is presenting a thorough and impressive mini-retrospective of Mary Ann Unger.

All the works in Star Rose, Rose Star combine emerging and Indigenous technologies, including dying, weaving, beading, and basketry, some of which Sarah Rosalena learned from her Wixárika relatives.

The most immediately remarkable aspect of the works on paper by Loretta Dunkelman now on view at Polina Berlin Gallery are their lustrous surfaces: blocks of oil-wax chalk in blues and pinks so heavily worked that they appear burnished.

A trumpeting angel soars through the center of a wheel in Ada Friedman’s Performance Proposal, Helen Rides VII: Wing and Wheel 3 (2020–24), a painting about the size of a concert poster. The implied movement of the winged creature emerging from the wheel suggests a separate spatial plane behind, which Friedman denotes with an uneven field of blue acrylic.

Some of the words I wrote down just after entering Ellen Siebers’s fourteen-painting show on the Upper East Side were “velvet,” “Inness forest,” “autumn,” and “ghost.” It is striking that most of these associations suggest an expansiveness evoked by texture or the fullness of depth, because Siebers paints relatively small, on square or rectangular birch panels of 12 by 12 inches or less.