Strolling round TriBeCa galleries not too long ago felt unusually, blessedly, heartbreakingly near regular. Some bars and eating places — just like the upscale diner in Cortlandt Alley — remained closed, however Decrease Manhattan is ablaze with artwork. Simply throughout the road from that vacant diner, at Andrew Kreps Gallery, I visited Kim Dingle’s overhead views of restaurant tables, which she made within the 2000s whereas working a restaurant in Los Angeles, and over at Canada I thrilled to Joan Snyder’s delicate however explosively colourful abstractions. (Notice that each exhibits shut Oct. 17.)
Luhring Augustine has opened a department on White Avenue with a killer present of watercolors and located object sculptures by the Brazilian artist Lucia Nogueira (via Oct. 31), and a brand new mission known as Broadway has opened with a present by the Indigenous video artist and photographer Sky Hopinka. Ortuzar Tasks is internet hosting a retrospective of Lynda Benglis’s sculptural works (via Dec. 3) in live performance with uptown’s Cheim & Learn gallery.
Vikky Alexander has incisive photograph collages and eerie glass sculptures at Downs & Ross (via Oct. 25); Peter Freeman’s rotating group present (via Dec. 19) of 20th-century masters from Agnes Martin to Walker Evans is especially sturdy; and also you’ll wish to catch Steve Mumford’s charming graphic journalism at Postmasters (via Oct. 31). Beneath are six extra exhibitions in or close to TriBeCa — from Varick Avenue to the Bowery, kind of — which have stayed with me.
Via Oct. 24. Alexander and Bonin, 47 Walker Avenue, Manhattan; 212-367-7474, alexanderandbonin.com.
There aren’t any surviving photos of the 24 Afro-Brazilian figures — some historic, some legendary — who populate the work in Dalton Paula’s “A Kidnapper of Souls,” his North American solo debut. (Mr. Paula, a Brazilian painter and multimedia artist who makes work concerning the African diaspora, did seem within the 2018 New Museum Triennial.) He modeled them, as a substitute, after residents of a settlement initially based by escaped slaves within the Brazilian state of Goiás.
Every determine, sensitively rendered in oil and gold leaf in opposition to a inexperienced or turquoise background — a method impressed by turn-of-the-century portrait images — straddles a delicate lacuna: The two-foot-by-18-inch panels they’re painted on are made by screwing two slender canvases collectively, and you may simply make out the seam. It’s an understated gesture that carries a number of weight, bringing to thoughts not simply the syncretic origins of Afro-Brazilian tradition, or the continued fusion of these origins with up to date Brazilian life, but in addition the enduring marks left by cleaving folks away from their houses and households.
Via Oct. 25. Martos Gallery, 41 Elizabeth Avenue, Manhattan; 212-560-0670, martosgallery.com.
The conceptual artist Kayode Ojo continues to rearrange discovered objects with a masterly contact in “The Aviator,” a sophomore present at Martos named after Martin Scorsese’s 2004 biopic of Howard Hughes. A phoropter, the machine optometrists use to find out a affected person’s prescription, hangs at eye degree close to the gallery entrance, without delay a metaphor for artwork and artwork itself. (Let the artist form your imaginative and prescient when you dare!) Or is it a remark about structural biases?
Issues solely get extra slippery as Mr. Ojo goes on to rearrange prop handcuffs, chrome-plated music stands, duplicate pistols, open Swiss Military knives, and different instruments with reflective surfaces in minimal however well-ordered piles. As a result of the position of all these objects seem like as important because the gadgets themselves, all of them turn out to be phrases in a single, all-encompassing visible language, supple and thought-provoking however endlessly ambiguous.
Via Oct. 25. Storage, 96 Bowery, Manhattan; 646-504-5810, storage-projects.com.
The inaugural group present at this new mission house, based by the artist Onyedika Chuke in his personal basement artwork studio, is a robust mixture of express politics and formal verve. Three of Emory Douglas’s graphic cowl designs for the Black Panther newspaper stay as arresting as they have been when he composed them 50 years in the past. The Miami-based artist Yanira Collado contributes a spare, evocative sculpture paying homage to a rooftop antenna, and a sequence of black-and-white images that doc performances by Alicia Grullón are surprisingly placing in their very own proper. Two monumental works on paper — one, by William Cordova, a polymath of patterns, includes a grayscale test sample, and the opposite, by the Houston artist Rick Lowe, has a tidal wave of black marker traces on a golden yellow floor — are tacked on to the partitions, including an additional burst of studio-visit pleasure to an already energetic roundup.
Via Oct. 31. Kerry Schuss, 73 Leonard Avenue, Manhattan; kerryschussgallery.com.
A miniature is a refuge from the trials of actual life, an otherworldly little kingdom you’ll be able to enter along with your eyes. However the palm-size landscapes within the ceramist Mary Carlson’s “Eden,” most of them sourced from the peripheries of outdated grasp work, are completely different. “Eden Timber (after Bruegel),” a thick brown puddle of desert below a cluster of lumpy timber, is exactly rendered and glossy with glaze; “Eden (after Cranach)” includes a trim little cave excellent for some tiny hermit; and in “Reservoir Blue Hills,” the one piece from life, the land is much more luscious blue than the water. Weaving across the low white pedestals that these 9 little patches of paradise reside on, chances are you’ll suspect that the Kingdom of Heaven, whereas absolutely at hand, is in want of some safety.
Via Nov. 1. Web page, 368 Broadway, Manhattan; 917-599-8140, page-nyc.com.
How would the world look when you might stand exterior time? That’s the heady query behind “One Second Per Second,” a lush however tightly centered suite of work by the younger Brooklyn artist Dana Lok. Within the largest two, “Causal Wedge (Entrance)” and “Causal Wedge (Again),” a veil of neon mist elements to disclose a single foot trampling via the mud. Easy orange butterflies — maybe a reference to the “butterfly impact” — flutter round within the tall grass. Jagged receding borders on the high of this imaginative and prescient counsel that it’s not only one prompt Ms. Lok has her sights on, however a contiguous prepare of them. However what makes the idea work is that she doesn’t linger over the small print. It’s simply an unusual approach of highlighting what’s, in any case, the center of most figurative portray — the unusual and magical drawback of fixing a second in time.
Via Nov. 21. Queer Ideas, 373 Broadway, Manhattan; 212-680-0116, queerthoughts.com.
After ending a physique of labor concerning the life and dying cycle, the New York painter Megan Marrin, in want of some conceptual restoration, started researching spas and wellness. However she ultimately narrowed her focus to a single emblematic object and put collectively a small however memorable present, “Convalescence,” comprising 4 ominous work of the Edwardian sanitarium fixture generally known as the rib cage bathe. Filling their tall and slender canvases kind of precisely, these gadgets appear like skeletons — virtually alien however weirdly acquainted — in cross-sections of shadowy flesh. They recall to mind all kinds of disquieting questions on luxurious, expertise and the sexual undercurrents of the commercial world. Will we form the environment or does it form us? Is the will for consolation a product of the dying drive? And simply what are we after, anyway, once we design a toilet? The work’ bilious colours and sticky-looking surfaces solely amplify their psychological impact.