At once a sensory organ and a seemingly transparent screen, the eye has captivated artists for centuries—none more obsessively, perhaps, than the Guatemalan painter and printmaker of Palestinian descent, Rodolfo Abularach.

Rothstein’s rhetorical approach to photography is evident throughout this exhibition: every photograph contains a story, and every detail in the image contributes to the visual narration.

At Sperone Westwater the main gallery showcases Emil Lukas's latest invention, “lattice paintings,” which involve layering a composition painted on a wooden panel with raised dots over an underpainting on canvas.

Taking newspapers as the base of his activity, Park Seo-Bo sought to conjoin his life to the rest of history through a symbolic network of spatiotemporal correspondences. The works themselves, then, stand as the crucial witnesses to his ultimate intervention in the collective psyche; it is this dually retroactive and proactive force that makes Newspaper Ecritures “catastrophic.”

Chakaia Booker’s craft is such that anything she makes must have come from the future. To make Empty Seat (2006), Booker salvaged burnt or collapsed tires from around the city, which she then cut, sheared, warped, and riveted onto one another and onto a wooden backing; my verbs by no means exhaust the multitude of techniques involved here.

The first solo exhibition of the Oregon-based artist Sara Siestreem (Hanis Coos) in New York marks her return to the city’s consciousness. After earning an MFA from Pratt Institute in Brooklyn in 2007, Siestreem returned to her homeland in the Umpqua River Valley to teach traditional Indigenous weaving to her Coos, Lower Umpqua, and Siuslaw Indian community.