How should we feel about Hannah Levy’s sculpture? Eminently touchable, but psychologically disturbing, her work plays into deeply seated Freudian feelings we might not want to admit we have.

Sculptor Jessica Stoller works in porcelain to communicate the fragility of earthly (feminine) beauty all the while critiquing social expectation of women’s sexuality.

Are these works by Korean artist Lee Bul beautiful abstractions or works predicting a dystopian future? Feel for yourself.

Mary Corse uses the same type of paint that is used on road signs, which refracts light and almost seems to glow internally. When it’s used in the service of art, however, she proves there’s more to her paintings than paint and canvas.

Before it was flooded with houses on postage stamp parcels, the South Fork of Long Island was an artist’s bohemia. This show at Kasmin celebrates eleven women who made the Hamptons their home.

Regina Silveira has been commissioned to create large scale public works across her native Brazil. This show of the installation artist’s unrealized works may be one of our only opportunities to see her work, but it doesn’t do it justice.

Claudette Schreuders brings a sense of reverence to her sincerely carve wooden figurines in this show at Jack Shainman.

Lorna Simpson’s monumental show at Hauser & Wirth is cast in shadows of vibrant blue––a color with a rich and complicated history when it comes to the representation of race.

There is a special place in my heart for the coast of Maine, something Nancy Cohen and Susan English understand, as both their solo shows take inspiration from the great state and its rocky coastline.

Jessica Sara Wilson has assembled block like constructions of nightlights, which she has placed next to animations of emergency vehicles. By abstracting the colors of these spinning and flashing light signals, she might have something to say about how we process trauma.

Jennifer Packer shows a remarkable ability in understanding the relationship between her subjects’ forms and the edges of their frames, giving them a centeredness that asserts itself on the canvas, giving power to people who have been left out of the canon.

Agnes Martin spent much of her life in Taos, New Mexico, an artist colony with a rich connection the the New Mexican landscape. 19th c. weavers of the Navajo tribe, immersed in the same environment, wove blankets of beauty and power. This show at Pace unites these two bodies of work.