Imagine the Rothko Chapel, but filled with a series of close-up photographs of blue-green waters with reflected shades of red, circulating the surrounding walls in a flowy composition. Melissa McGill’s RED REGATTA: riflessi, currently on view in TOTAH’s Lower East Side gallery, builds a meditative space where the audience is so close to the sculptural details of the waves and the tangible texture of the reds that one feels almost bathing in them.

Here I am, standing on Fifth Avenue just across from Apple’s recently reopened Batcave of a store and chasing a liquid, care-free form as it flies in and out of the midtown skyscrapers surrounding us. While the shimmering “ghost” takes on various colors and shapes, sometimes even forming words, a high-pitched voice, reminiscent, perhaps, of Bjork, sings along with it.

Body is a battleground. Body is a weapon. Body is testimony of endless fights against racial, class, and sexual oppression.

Two fried eggs and a kebab on a table evoking a female figure; a cocoon-shaped swing made of cotton-filled tights in the shape of tits; a fearless woman wearing a t-shirt that reads “SELFISH IN BED”—these images, posted all over social media and New York City subway, depict artworks featured in Sarah Lucas’s first U.S. survey, Sarah Lucas: Au Naturel, occupying three floors of the New Museum.