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The article reviews the exhibition "Recent Terrestrials" at the David Nolan gallery in Chelsea, New York City through December 6, 2014, which features the works by painter Alexander Ross.

The article reviews the exhibition "I Only Wanted You to Love Me" at the Metro Pictures gallery in Chelsea, New York City through October 25, 2014, which features the works by painter and sculptor Jim Shaw.

The article reviews several exhibitions in New York City including "Ralph Fasanella: Lest We Forget" at the American Folk Art Museum, "Nam June Paik: Becoming Robot" at the Asia Society and Museum, and "Under the Same Sun: Art from Latin America Today" at the Guggenheim Museum.

The article reviews several art exhibitions in New York as of September 2014 including "Beyond the Supersquare" at the Bronx Museum of the Arts until January 11, 2015, "Mel Bochner: Strong Language," featuring the paintings of Mark Bochner, at the Jewish Museum until September 21, and "The Pre-Raphaelite Legacy" at the Metropolitan Museum of Art (MoMA) until October 26.

The article reviews the exhibition "Theresa Bernstein: A Century in Art" at the Woodmere Art Museum in Philadelphia, Pennsylvania through October 26, 2014, which features more than 50 paintings from 1912-1972 by painter Theresa Bernstein.

The article reviews several exhibitions in New York City including "Chicago in LA: Judy Chicago's Early Work, 1963-74" at the Brooklyn Museum, "Men in Armor: El Greco and Pulzone Face to Face" at the Frick Collection, and "Garry Winogrand" at the Metropolitan Museum of Art.

The article reviews the exhibition on the paintings of Milton Resnick at Mana Contemporary Gallery in Jersey City, New Jersey through August 8, 2014.

The article reviews the exhibition "Paintings and Drawings, 1948-1989" at the DC Moore Gallery in Chelsea, New York City through July 31, 2014, which features the works by painter Robert De Niro Sr. such as the "Red House With Blue Door."

The article reviews the exhibition "Novelty Court" at the Junior Projects art gallery in Lower East Side, New York City through July 6, 2014, which features the paintings by artist Emily Mae Smith including "The Inspector," "Tongues and Coin" and "The Studio (Smoking Broom)."

The article reviews the exhibitions "Day by Day Good Day" at the Koenig & Clinton gallery, which features the works by artist Peter Dreher, and "Disquieting Nature" at the Walther Collection Project Space in Chelsea, New York City, which features the works by Christine Meisner.

The article reviews the exhibition "Day by Day, Good Day" at the Koenig & Clinton gallery in East Village, New York City through May 13, 2014, which features the works by German artist Peter Dreher.

The article reviews the exhibition "Energy That Is All Around: Mission School" at the New York University's Grey Art Gallery in Greenwich Village, New York City through July 12, 2014, which features the works by several artists including Chris Johanson and Margaret Kilgallen.

The article reviews the exhibition at the Rachel Uffner Gallery in Lower East Side, New York City through April 20, 2014, which features the paintings by artist Joanne Greenbaum.

The article reviews the exhibition "Forum" featuring the works of painter William Beckman in New York until April 26, 2014.

The article reviews the exhibition at the Gagosian Gallery in Chelsea, New York City through April 19, 2014, which features the five giant paintings of the Tyrolean Alps in Austria by Italian artist Rudolf Stingel.

The article reviews the exhibition "Recent Paintings" at the Horton Gallery in Lower East Side, New York City through March 2, 2014, which features the works by artist Dennis Congdon such as the "Untitled (Pile)" painting.

The article reviews the exhibition "Re-View: Onnasch Collection" at Hauser & Wirth gallery in Chelsea, New York City through April 12, 2014, which features the paintings and sculptures from the 1950s to the 1980s collection by German art dealer Reinhard Onnasch.

The article reviews the exhibition at the Sikkema Jenkins and Co. art gallery in Chelsea, New York City through March 1, 2014, which features the works by painters Josephine Halvorson and Burt Barr.

The article reviews the exhibition "Facings" at the Sikkema Jenkins & Co. contemporary art gallery in Chelsea, New York City through March 1, 2014, which features several works by painter Josephine Halvorson like the "Woodshed Door" painting.

The article reviews the exhibition "The Age of Small Things" at Dodge Gallery in Lower East Side, New York through February 23, 2014.

The article offers information on artists Wayne Koestenbaum, Jane Corrigan, Joe Fyfe. It states that Koestenbaum thrown himself into producing approximately 400 canvases. The article also mentions that Corrigan creates funny pictures of cartoonish little men, while Fyfe is known for his abstract paintings.

George Adams Gallery 525 West 26th Street, Chelsea [ABSTRACT FROM PUBLISHER]

Realism is a shifty concept. What is real for you may be nonexistent for me -- God, for example, or subatomic particles. The landscape of reality varies with time and place, and different versions can vie for dominance in the same hour and space. The Renaissance was such a moment, as the metaphysical reality of Christianity began to give way to that of empirical science and perceptual experience. You can see that happen before your eyes in ''Bellini, Titian and Lotto: North Italian Paintings From the Accademia Carrara, Bergamo,'' a small, philosophically intriguing exhibition at the Metropolitan Museum of Art. It is not offered as a theme show. It is just a selection of 15 paintings, mostly of middling quality, on loan from a museum in Bergamo, Italy, that is under restoration. And the title may be misleading: Only one of the paintings is a Bellini, and the attribution to a young Titian of a weird small landscape illustrating the story of Orpheus and Eurydice remains uncertain. Viewers may connect the dots however they like. For me what is striking is the registration of a fundamental change in what European culture on the threshold of modernity would consider really real. [ABSTRACT FROM AUTHOR]

PHILADELPHIA -- Do not be fooled by the title, the extra money charged on top of regular admission or the gift shop lavishly stocked with cheesy souvenirs. ''Gauguin, Cezanne, Matisse: Visions of Arcadia'' at the Philadelphia Museum of Art is not a blockbuster. It is anchored by three major paintings by the titular artists, but as a whole is a qualitatively mixed bag of 60 works by 25 artists, including Pierre Puvis de Chavannes, Andre Derain and some second- and third-rank Pointillists. Only 10 are by Gauguin, Cezanne or Matisse. The exhibition catalog is filled with excellent color reproductions of many great works not in the show, including Botticelli's ''Primavera,'' Titian's ''Concert Champetre,'' Manet's ''Dejeuner sur l'Herbe'' and Matisse's ''Bonheur de Vivre.'' An exhibition displaying everything in the catalog would be a once-in-a-lifetime event and a richly illuminating meditation on the classic Arcadian myth of pastoral bliss and what it means for the modern world. But if you want to know what you will see in the flesh, you have to consult the thumbnail-illustrated checklist at the back of the book. Can you say, ''false advertising''? [ABSTRACT FROM AUTHOR]

Luxembourg & Dayan, an Upper East Side purveyor of high-end secondary-market art, occupies a 12 1/2-foot-wide, five-story town house squeezed between much larger buildings on East 77th Street. Built in 1875 and with a new facade added in 1925, it is one of those architectural curiosities around the city that prompt visions of enchantment within. To enter, you descend a few steps from the sidewalk to the front door, which is under a little peaked roof. Ring the bell and you will be admitted to an interior of snowy white walls occupied by a four-floor exhibition that more than delivers on the promise of the eccentric exterior. ''Domenico Gnoli: Paintings 1964-1969'' presents a selection of canvases up to six feet wide or tall bearing mysterious, larger-than-life images of human torsos in old-fashioned garb, fragments of clothing studied at close range, furniture, the corner of a brick wall and a monumental handbag. [ABSTRACT FROM AUTHOR]

If, by some fluke of metaphysics, the last four decades of Edouard Vuillard's long, prolific and rewarding career were erased from collective memory, he still would not be forgotten. Before the age of 30 he made some of the most beguiling paintings of fin de siecle Paris: intimate, compact, brushy pictures of his mother and sister in the apartment he shared with them and the dressmaking shop they worked in. Painting with special attention to wallpaper and fabric patterns, he made people almost dissolve into atomized, flattened surfaces, anticipating a century that would pulverize into air everything once taken for solid. After 1900 Vuillard (1868-1940) turned back his own clock. Reverting to a more conventionally naturalistic style and often using his own photographs as references, he painted portraits of well-to-do people and decorative murals for their homes. In the eyes of many critics he became a mere society painter. But Vuillard's later work has its supporters too, and they are having their say, convincingly, in a pair of exhibitions: ''Edouard Vuillard: A Painter and His Muses, 1890-1940'' at the Jewish Museum and, at Jill Newhouse gallery, a complementary show featuring major late works as well as some small early paintings and a selection of drawings. [ABSTRACT FROM PUBLISHER]

Fredericks & Freiser 536 West 24th Street, Chelsea [ABSTRACT FROM AUTHOR]

The putative gap between art and life is a pernicious myth. Painting in a studio is no less a form of life than, say, occupying Wall Street. Consider the exuberantly vital art of Henry Taylor, whose paintings are in an exhibition named for him at MoMA PS1. Mr. Taylor, who lives in Los Angeles, paints fast, loose and sensuously on canvases great and small. Portraiture is his work's center of gravity. His subjects include friends, relatives, acquaintances from the art world and off the street, and heroes from the worlds of sports and politics. Along the way he takes in downbeat cityscapes patrolled by cop cars and envisions allegories of spiritual trauma in the Land of the Free. [ABSTRACT FROM PUBLISHER]

Pace Gallery 534 West 25th Street, Chelsea [ABSTRACT FROM PUBLISHER]

Park Avenue Armory 643 Park Avenue, at 67th Street Through Sunday [ABSTRACT FROM AUTHOR]

Andrea Rosen 525 West 24th Street, Chelsea [ABSTRACT FROM AUTHOR]

For the hot, tired and frazzled masses, the Guggenheim Museum offers an oasis of cool serenity this summer. ''Marking Infinity,'' a five-decade retrospective of the art of Lee Ufan, fills the museum rotunda and two side galleries with about 90 works in a Zen-Minimalist, be-here-now vein. Mr. Lee, 75, is an aesthetic distiller. He boils two- and three-dimensional art down to formal and conceptual essences. Sculptures consist of ordinary, pumpkin-size boulders juxtaposed with sheets and slabs of dark, glossy steel. Paintings made of wide brush strokes executed in gridded order on raw canvas exemplify tension between action and restraint. [ABSTRACT FROM AUTHOR]

I-20 557 West 23rd Street, Chelsea [ABSTRACT FROM AUTHOR]

Anna Kustera 520 West 21st Street, Chelsea [ABSTRACT FROM AUTHOR]

SAUL CHERNICK 'Borrowed From the Charnel House' [ABSTRACT FROM AUTHOR]

Feature 131 Allen Street, between Delancey and Rivington Streets Lower East Side Through March 27 This perplexing but intriguing exhibition of paintings by Sue Gurnee, a professional healer who lives in North Carolina, comes with viewing instructions. Standing in front of one of Ms. Gurnee's square canvases bearing thinly painted layers of nonrepresentational forms -- spacey veils of muted color; translucent, bubblelike circles and ovals; and small, deftly brushed glyphic signs -- you should ''let the image's vibrations contact you.'' [ABSTRACT FROM PUBLISHER]

Art Ken Johnson [ABSTRACT FROM PUBLISHER]

The article reviews an exhibition of paintings by Belgian painter Luc Tymans at the museum Proper in Chelsea, New York.

Reviews the painting exhibition by Eric Fischl at the Mary Boone gallery in New York City.

Comments on an art exhibition at the Elizabeth Harris gallery in Chelsea, New York featuring the paintings by Pat Passlof.

Comments on the painting exhibition of Nataraj Sharma in New York City.

Comments on the painting exhibition of Cecily Brown in New York City.

Comments on the painting exhibition of Ralph Goings in New York City.

Focuses on the painting exhibition of Jim Richard at the Oliver Kamm/5BE Gallery in Manhattan, New York City.

Focuses on the painting exhibition of Pia Fries at the CRG Gallery in Manhattan, New York City.

Focuses on the painting exhibition of Anton van Dalen at the Adam Baumgold gallery in Manhattan, New York City.

Features three painting exhibitions held at various venues in New York City during the spring of 2004. "Worldscapes: The Art of Erro," painting exhibitions by Icelandic artist Erro, at the Grey Art Gallery of New York; "Mao's Last Visit to Venice," at the Lillian Vernon Center for International Affairs, New York University; "Femmes Fatales," at the Goethe Institute.

Features the exhibition of painter Robert Indiana entitled "Peace Paintings," held at the Paul Kasmin Gallery in Chelsea, Manhattan, spring 2004.

Features the painting exhibition of Joe Andoe at the Feigen Contemporary in Chelsea, New York City. Painting of 1960 vintage cars.

Features the painting exhibition by British artist Nigel Cooke at the Andrea Rosen in New York City. Emphasis on landscape painting.