MOIETY gallery, an inviting first-floor space in a long-time artist-owned building opposite McCarren Park, dwarfed by the McCarren Hotel—that almighty glass gentrifier—and a neighborhood bar, is seemingly the perfect space to host a meditation on gentrification, weeds, the secret life of parks, defiance, and survival. Howland, a former member and one-time president of Colab (Collaborative Projects, Inc.), has lived in New York for several decades, seemingly spending them defying or thinking around the onslaught of real estate development.

The centerpiece of my 2014 summer was a free artist residency at The Shandaken Project—three weeks, with three to four other people, on a sprawling property in the Catskill Mountains, ringed by forever-wild forest on all sides, tucked into an armpit of the Esopus Creek. Nicholas Weist, founder of The Shandaken Project and facilities manager during my stay, had told me that three years later, residents are telling him that they are still working out ideas that formed in that open-air cradle, on trips from the beautiful handmade studios to the house at dusk.

Last year during Hurricane Sandy I called an artist friend of mine, Mehdi Matin, and we spent the next six hours talking each other through the storm. I was in my studio in Long Island City, wind whipping round the building, clattering the loft windows in a terrifying way.

Lupo made the sculptures for Hats & Balls in her father-in-law’s pool house in Los Angeles, where she and her husband live. A lot of the pieces in the show rest atop custom-trimmed towels, as Lupo placed her sculptures on the abundance of pool house towels after making them; after a while a strange symbiosis took place.

Art is at its most truthful when there is a paradoxical sense of open completeness.

In this transcendent exhibition, the largest in America ever dedicated to this major late 19th-, early 20th-century Swiss painter, Hodler’s canvases breathe with a sort of palpable animism saved for only the most gifted artists and shamans.

We the People, curated against the backdrop of the current election by Alison Gingeras, Jonathan Horowitz, and Anna McCarthy, looks to provide an “artistic view” of the “diverse demographics” of the United States.

In Rafael Lozano-Hemmer’s spectacular “Voice Array” (2011), part of the Mexican-Canadian artist’s fourth solo show at bitforms, one can listen to up to 288 anonymous vocal samples—played in uneven unison, and accompanied by pulses of vibrant white light in discrete beams, emanating from above and below a raised black strip along the back wall.