Throughout the exhibition, Rauschenberg plays with the availability of narrative when abutting many images in a single picture plane. The works in Channel Surfing, split across two floors, embody the action of movement, of going, of living in and passing through a world glutted with image.

Winner of Persea Books Lexi Rudnitsky First Book Prize, Sarah Matthes’s first collection of poems, Town Crier, is nothing short of revelatory.

In her most recent show, the Brooklyn-based artist Kyle Staver presents paintings that provide the viewer with an escape—to a world that is familiar enough to be recognizable, but more magical than our own.

One of today’s most influential painters is having his first museum-quality, posthumous show at Hauser & Wirth: Philip Guston: Painter, 1957 – 1967.

Internationally recognized, well exhibited, and critically acclaimed sculptor Martin Puryear currently has a fantastic show of drawings and prints on view at the Art Institute of Chicago.

More than a hundred drawings, a dozen paintings, two videos, and a zine populate Stuff Change, Amy Sillman’s first solo show in New York in six years.

Throughout his career, Jonathan Lasker has explored the gap between marks and signs. A mark refers primarily to itself, to its physical presence, while a sign signals a referent external to the painting, something known and recognizable.

For Michelle Grabner, there is no distinction between her life and her art. She is a consummate artist with a conceptual agenda: to what degree can the domestic and the artistic be fused?

In her twelve new paintings currently on view at Petzel’s Chelsea location, Dana Schutz surprises her audience yet again with exuberant pictures that simultaneously depart from, and are consistent with, her previous work.

It’s a group of work united by something outside the group: painting. But we see and approach, each of the pieces in “Not A Painting” as if that’s what they are, because that’s what some of them look like. Everything is wall hung, and though most of the work might be classified as sculpture, the exhibition ultimately undermines such categorizing.

A good group show is like a good dinner party. As the guests—or the works—interact, new topics arise, and something might be learned. Conversation occurs at a constant hum, with interludes of laughter or argument. In this respect, Norte Maar’s between a place and candy: new works in pattern + repetition + motif does not fall flat.

Samara Golden’s art is nearly impossible to talk about. Just as looking into The Flat Side of the Knife at MoMA PS1 induces vertigo, so too a description of the installation slips by, down, away. Understanding flits in and out.

Recently graduated from Columbia’s illustrious M.F.A. program, Heidi Howard has made a suite of beautiful, delicate paintings for her first solo show at Nancy Margolis Gallery.

Rough Cut attempts to offer a new look at how eight emerging and mid-career artists incorporate collage into the process of making abstract art. The show’s premise arises from one of curator Jennifer Samet’s overriding intellectual pursuits: understanding the artistic process.

Painting—both the process and its products—can be absurd, irreverent, and funny, as the 20-plus “portraits” by Jason Fox presented at CANADA suggest.