The Frick Collection celebrates this British artist, lionized today for his explosive swirls of abstract color and light, with a selection of his luminous studies of European ports: harbors for the pursuits of everyday life that he renders as quotidian snippets in the infinite scheme of things.

How sweet it is, then, that this 1908 Renaissance revival landmark is now  “no man’s land”—home to an art museum dedicated to women in the arts!  This is the irony, though not the inspiration, for the current exhibition NO MAN’S LAND: Women Artists from the Rubell Family Collection.

From the late 1940s through the ’60s, New York artists, restless and in pursuit of what they had yet to discover about themselves, headed for Long Island’s East End. The titans who at the time had yet to learn they were titans—Jackson Pollock, Lee Krasner, Willem and Elaine de Kooning, Clyfford Still, Mark Rothko, and Robert Motherwell—were among the visual artists who, when not sequestered in their hushed studios, hung out on the beach, smoking, drinking, cooking, canoeing, clamming, and coveting one another’s lovers and spouses.

Bradley Walker Tomlin: A Retrospective pays long overdue homage to an artist whose contributions to Abstract Expressionism have been relatively overlooked.

Seeing works in an artist’s studio as they’re readied for exhibition is oh so different from viewing them in the surround of a gallery space. Prior to seeing Gabriel Lima’s paintings at Kai Matsumiya’s Lower East Side gallery, I visited the Brazilian-born artist in his Brooklyn studio.

On the first cool day of autumn, Sarah Sze walked me through her exhibit at Tanya Bonakdar Gallery in Chelsea. In the moments before she appeared, I’d been looking at the new work, feeling a bit like Alice in a topsy-turvy place, bursting with questions.

One step into Alexander Gray gallery and you know that Joan Semmel is a fearless woman. Semmel chose to work with the nude female figure during an era dominated by male minimalists; a time when figuration was a very poor choice for artists seeking recognition.

Ilya and Emilia Kabakov began to jointly sign their works in 1997. When Joyce Beckenstein conducted an interview with them, Amei Wallach—Ilya Kabakov’s first biographer, and director of the recent film, Ilya and Emilia Kabakov: Enter Here (2013)—joined in.

The 10 artists featured in Picture/Thing, an exhibition exploring the relationships between photography and sculpture, unleash art history’s most beguiling trickster: The Photograph.

Art historian and critic Phyllis Tuchman orchestrated an exuberant collection of works, many of them seldom seen, for Robert Motherwell: The East Hampton Years, 1944 –1952 on view at Guild Hall in East Hampton through October 13.

The painter Ellen Wiener and the poet LB Thompson live among a close-knit circle of artists in what’s locally dubbed the un-Hamptons, the last remaining bastion of quiet hamlets stretching along the North Fork of Eastern Long Island, New York.

In 1979, at the urging of her friend and colleague, the painter Elaine de Kooning (1918 – 89), Connie Fox moved to East Hampton. Almost daily, the two walked and swam at Sammy’s Beach, a local flat strand of shoreline.

When Allan Wexler looks into the forest he sees its trees as nature’s I-beams, their leafy boughs as protective rooftop canopies. More interested in dwellings for the human spirit than in constructing habitable spaces, Wexler’s architecture-as-sculpture-as installation-as conceptual art isn’t easy to pin down.

Quite a cast of characters are chatting things up at Algus Greenspon Gallery.

“Carolee is spinning the moon,” whispers Marielle Nitoslawska, speaking over the golden orb dancing in the night. This opening sequence of Breaking the Frame, Nitoslawska’s documentary film about the artist Carolee Schneemann, was shot by Schneemann many years ago.