Camille Henrot’s solo exhibition The Restless Earth made full use of the New Museum’s second floor, leading viewers through a loop of rooms with diverse characters, plots, and settings.

One of the few unpainted surfaces in Emily Noelle Lambert’s exhibition Curio Logic II is a curved metal “sword” that partially delineates a swelling tapestry of works.

Dieter Roth’s interests span a range of themes between which it may seem difficult to connect the dots.

The group exhibition Your Gold Teeth II presents a whopping 73 works by 43 artists in two rooms and two hallways at Marianne Boesky Gallery. Remarkably, there is no particular theme (or medium, subject, generation, nationality) that ties it all together.

The first place the eye lingers in Chris Domenick’s pair of drawings, "Tiger Roses" and "Postcard from Isthmus", is the floating, sideways bouquet of roses. This horizontal pile-up of expertly rendered floral membranes becomes an anchor, a familiar form that restores confidence in our perceptive powers.

The most striking work in Barbara Hatfield’s exhibition Leave a Little Emptiness is “2 pieces,” a thin wooden plank that nearly blends into the wall. It is 26 inches long and two inches wide, covered in a rough coat of white paint, and sliced down the middle at a slight angle.

Passing fruit stands, fish markets, discount souvenir shops and several Chinatown bus depots, I identify Reena Spaulings Fine Art by an address on an awning and a buzzer labeled “gallery 2nd floor”—the only sign of its existence. I climb a dingy staircase, half-consciously noticing a rust-stained mosaic detail on the landing: a trace of the building’s previous life.

Mark Bradford, recipient of the Whitney Museum’s 2006 Bucksbaum Award, takes the title of his exhibition in the museum’s main floor gallery, Neither New Nor Correct, from map historian Peter Barber’s determination that a 1715 world map claiming to present “new and correct” data was in fact doing neither.