Porter Contemporary, 548 W28th St., NYC
a group exhibition of small works by over 30 artists: Roberta Allen, Dara Alter, Melissa Anderson, Bryan Austin, Jennie Barrese, BEPPO, Jason Bryant, Dara Engler, Kathy Greenwood, Naoto Hattori, Amy Hill, Jeff Huntington in collaboration with Travis Wagner, Jee Hwang, Jihay Kang, Sarah Kaufman, Lori Larusso, Andrew Maglathlin, Anne Marchand, Kate McCarthy, Kellyann Monaghan, Judith Mullen, Jennifer Murray, Judith Ostrowitz, Chaltin Pagan, Bruno Perillo, Joyce Pommer, Carla E. Reyes, Elena Rodz, Carlton Sturgill, Catherine Tafur, Beck Wheeler, Meghan Willis, Tom Wilson, Dan Withey - thru Sept 7
curated by Rodolphe von Hofmannsthal
David Zwirner, 519, 525 & 533 W19th St., NYC
Folk Devil presents a comment on the tendency to create artificial connections between a group of individuals, while it also contains a self-referential statement on the yearly summer shows held at many art galleries under various umbrella themes.
The exhibition’s title is a reference to sociologist Stanley Cohen’s description of the British media’s hostile reaction towards deviant youth groups in the 1960s, and embodies a deep-rooted fear of subcultures and the morally aberrant.
Artists: Lynn Chadwick, Spartacus Chetwynd, Marlene Dumas, Nikolas Gambaroff, Brian Griffiths, Roger Hiorns, Ryan McGinley, Oscar Murillo, Mike Nelson, Eddie Peake, Jason Rhoades, Steven Shearer, Oscar Tuazon, Sophie von Hellermann, Franz West, and Lynette Yiadom-Boakye.
thru June 8:
“Logical Expressions and Variations”
William Betts, Gary Carsley, Shane Hope, Julie Oppermann
Margaret Thatcher Projects, 539 W23rd St., NYC
a group show including works by four contemporary artists who each incorporate the logical, rational and at times accidental reading of visual data by automated or organic systems in their artwork.
continues thru Apr 26:
curated by Adam Parker Smith
Lu Magnus, 55 Hester St., NYC
a group show featuring work by 77 artists and curated by Brooklyn-based artist Adam Parker Smith.
Beginning with a series of studio visits, Smith set out with the clear intention of “acquiring” work for the exhibition. However, he concealed the true concept, premise, and even timing of the exhibition from the artists. Through various surreptitious means, a work of art or object was taken from each artist’s studio. The pilfered work is not any random object but rather one that explicitly relates to the artist’s wider practice. Two weeks prior to its opening, the artists were informed of the exhibition. Only then were they let in on the true concept and scope of the exhibition. Presented with the choice – if the artist agreed, they would be included in Thanks; if they refused to give permission, works were to be returned immediately. However, all invited artists agreed to participate in Thanks.