All you need is Franz Erhard Walther of Germany, whose drawings, gouaches and soft sculptures in his ebullient, lavishly beautiful retrospective, “Migration of Forms, 1956-2006,” at Freeman reveal the power of all these avant-garde tendencies at once. It is never clear what is troubling the middle-aged protagonist of the film, or what he is burning in the fire pit by his rustic home. David Zwirner, 537 West 20th Street, Manhattan; 212-517-8677, davidzwirner.com. This installation also argues that anything can be art and anyone can be an artist; it’s just a matter of context and definition. Dice and cards float through the compositions and one room here is wallpapered with reproductions of illegal lottery cards sold in New York bodegas, and which include advertisements for the products and services of folk healers. Anni Albers’s recently discovered tapestry, “Camino Real” (1968), a major work never before seen outside Mexico City. Each of these two solo shows catches up with an artist of a certain age whose latest work reminds us that art is ultimately not a young person’s game and that late success often feels the most solid. Art is often seen as a platform for free expression, although a litany of unwritten rules apply — and this is particularly true in painting. Marcus Jahmal’s “High Roller” (2019) in his new show, “Double Down.”. The first examined inequality; this one centers on practices of care, affirmation and celebration. Through Aug. 17. In the larger scenes, Ms. Mockrin crops less, to even more powerful effect. As Mr. Smith cruises the middle of this high-art/popular-culture continuum, his ultimate tactic seems to be to show how painting can accommodate multiple ideas and worldviews, rather than what art’s gatekeepers allow at a given moment. Ten feet square, it agglutinates irregularly alternating triangles of pink, scarlet and wine into a syncopated pattern that seems to shift and fizzle. MARTHA SCHWENDENER. He also invented a permanent-wave machine for hair — it looks more like a torture device or a Dadaist sculpture — and attended every exhibition at the Kunsthalle Bern when his grandson was its director and curator. You appreciate the importance of minimalism, but can’t abide its froideur; you appreciate the importance of performance art, but find it indulgent or inscrutable; you appreciate the importance of fiber art, but wonder if it’s really just craft.

But he wasn’t opposed to making art himself, as “Grandfather: A Pioneer Like Us,” originally from 1974 and now recreated at the Swiss Institute, shows. Taken together, all these components make for a remarkably lucid definition of identity, whether personal, ethnic or national, Mr. Prina’s or his father’s: It’s a ramshackle series of accidents and non sequiturs that strike you, somehow, with unitary force. New York Galleries: What to See Right Now Margot Bergman’s doll images, Harald Szeemann’s quirky tribute to his grandfather, and the neo-Classicists rising again. Alongside this essential Klee exhibition, Zwirner is presenting a second helping of Bauhaus on its ground floor, now filled with the jazzily geometric textiles, diagrams and etchings of his student Anni Albers (1899—1994). Through Oct. 26.

Ms. Bergman’s newest pieces are photographs of the faces of dolls and puppets she has collected over the years; she adds more images then photographs them again. Stephen Prina’s “English for Foreigners (abridged)” at Petzel Gallery, a partial reprise of a 2017 museum show in Naples, has a lot of separate parts. He is slowly creating his own idiom, though, somewhere between abstract and figurative painting, sculpture and installation. Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; Franz Erhard Walther and Peter Freeman. Through Oct. 26. The gentleness of film allies perfectly with the subject matter he sensitively conveys. Glimmers of Jean-Michel Basquiat, Henry Taylor and the tradition of Haitian painting can be detected in Mr. Jahmal’s work. Through Aug. 16.

He collected combs and emergency currency (circulated after World War II), loved Chihuahuas (a stuffed one is here) and his adopted nation (a Swiss cross emblem made with the hair of his clients is proudly displayed). “Ungeheuer in Bereitschaft (Monsters in Readiness),” a drawing by Paul Klee from 1939, the year before he died. Greg Parma Smith sets out to break a few of these restrictions, and he accomplishes this task in “Love’s Dimension” at David Lewis. Others revise historical scripts to put the important roles of black people front and center. Rainbows and unicorns top the list of off-limits subjects for “serious” painters, but Mr. Smith features these in works like “Stone Pigment Rainbow With Light Rainbow” (2019) and “Banner Unicorn in Love’s Dimension” (2019).

Off-peak Storage Heaters, 2017 Wrc Results, Bass Clef Notes Mnemonic, Backfire Skateboard Discount, 5 Rules For Success, Yamato Class Battleship Size Comparison, Sarnia Fine Cars Used, Corvette Ship, Diamond Pool Table Cover, World Matchplay Darts 2020: Schedule, Tennis Lesson Plans For Primary School, Ufc 246 Floor Seats, Solid Principes, Larry Weiss Analog Devices, Church Finance Department Structure, College In Parkersburg Wv, Daughters Of Cornwall, Mark Madsen Vs Austin Hubbard, Boxing Vs Karate, Janison Portal, Paroles De Chansons, Power Automate Multi Stage Approval, Google Family Payment Method, Michigan Vs The Boys Read Online, The Muppets' Wizard Of Oz Google Drive, Maria The Virgin Witch Episode 1 Eng Sub, Tony Harrison Boxer,