This winter, at Almine Rech in Paris, Emily Mason: Other Rooms (Works from 1969-2017), is a six-decade survey of the artist's prodigious oeuvre, five years after her passing.

In geopolitics, where oracles once offered guidance to political leaders, soldiers carried out the resulting orders. In Army of Love, Patricia Cronin considers how we might inhabit these roles.

Dangling from a quince tree at Sean Scully’s studio, a bald-faced hornets’ nest buzzes like a chainsaw. We’ve stepped through the back door into the garden for an impromptu pruning of things that the artist has planted in Tappan, New York over the past decade. This garden is a project of divine reclamation, a practice that runs through Sean Scully’s life and work, from the construction in 1978 of his studio at 110 Duane Street in New York, to the paintings he made on Long Island during a transformative residency in the summer of 1982.

Selected from three distinct collections—the “Emily Dickinson Series,” “Free Associations,” and the “Jesus Collages”—the artworks featured in Collages unveil a branch of Janet Malcolm’s oeuvre that constitutes a generative, though relatively private, decades-long practice with this medium. 

Over her six-decade career, Plimack Mangold has explored the conundrum of perception and representation, crisply summarized by the ten works included in Sylvia Plimack Mangold: Tapes, Fields, and Trees, 1975-84.

Sean Scully: Broadway Shuffle, organized by the Broadway Mall Association, in partnership with NYC Parks’ Art in the Parks program and Lisson Gallery, comprises seven unique, vertically stacked sculptures made of wood, metal and stone, sited along the verdant medians of Broadway, from Lincoln Square to Washington Heights.