Double Fantasy, Elizabeth Hazan’s second solo show with HESSE FLATOW, takes its title both from Hazan’s doubling (an improvisational tendency: these paintings start from spontaneous ink and watercolor sketches, giving them a certain looping rhythm) and from the final John Lennon/Yoko Ono album of the same name, released in 1980.

I know it’ll take a little more than art and words to heal our national fabric, but here’s a January group show for folks in need of a shot of collective optimism. GIVE ME TWO, curated by Marcus Jahmal and Giorgia Alliata, takes on the group show itself as its thematic conceit, placing twelve living artists across three generations in space together.

With The Dream Relatives, her third solo exhibition at Meredith Rosen Gallery,Tina  Braegger takes her bears to arresting new heights, dancing all over the lines between appropriation and first-principles improvisation with a tenderness that’s as cryptically enveloping as it is joyfully immediate.

Ethan Kramer’s debut solo exhibition Second Thought Best Thought, now on view at Entrance’s Ludlow Street space, is a dense group of heady, expressive paintings that at times literally burst at the seams with the need to exist.

Clare Grill’s Parlance is a near-cinematic spiritual gathering of legitimate dream portals, unstable entrances to living scenes from Grill’s vast internal and temporal world. Physical abstraction meets subconscious cataloging to produce an effect that is as spellbinding as it is constantly redefining itself.