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.

Berlin-based Berta Fischer makes sculptures out of sheets of iridescent acrylic glass, contorting them in order to capture and refract light in ways that seem out of this world.

At age 104, Carmen Herrera finally has the opportunity to translate her paintings into sculpture, a project she began in the 1960s—to outsized results.

Dominique Fung uses familiar Surrealist tropes to address Orientalism and a damaging collective fantasy of the West, insisting that the freeing of the unconscious mind might not be all good.

Nathlie Provosty has mastered a notoriously independent medium: watercolor. Showing a remarkable ability to control its properties, she creates pieces that feel at once liquid and solid.

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.

Installation and video artist Hito Steyerl has a grasp on the complicated forces that make up the 21st century. Drill, her newest project for the Park Avenue Armory, proves she still has it.

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

Carla Prina was an Italian abstractionist with her own perspective. Little known outside her native Italy and adoptive Switzerland, Shin Gallery revisits a woman deserving of much more recognition.

For the first time the Whitney Biennial’s curators have included a majority of female artists in their survey. 84-year-old Chicago artist Diane Simpson is one of them, with a room of her own.

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.

Though her flower paintings appear to be of the 21st century, Shara Hughes takes a cue from the Golden Age of Dutch painting, more specifically, the tradition of vanitas.