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Artists and scientists have plenty in common: Both work in competitive fields that value creativity, ingenuity and results. But an artist is not a scientist, and vice versa -- unless you are Natalie Jeremijenko. Ms. Jeremijenko has degrees in fields that link biochemistry, physics, neuroscience and engineering. She directs the Environmental Health Clinic at New York University, crossing over into the art and computer science departments. But all that really matters when visiting ''Natalie Jeremijenko: Connected Environments'' at the Neuberger Museum of Art is how what is on view functions as art. There is a strong whiff of the science fair in Ms. Jeremijenko's work. She relies heavily on display and interaction. Her work fits into the art context mostly because of the rise of installation art, which rejects concentrating on one object in lieu of focusing on the relationships between things -- a rather science-friendly approach. [ABSTRACT FROM PUBLISHER]

What would the proverbial alien, beamed into the Grey Art Gallery for a viewing of ''Downtown Pix: Mining the Fales Archives, 1961-1991,'' discern about New York toward the end of the last millennium? Maybe this: That it was very gritty, very gay and very Caucasian. Organized by Philip Gefter, a former picture editor for The New York Times, the exhibition includes more than 300 photographs and serves as a kind of sequel to ''The Downtown Show: The New York Art Scene, 1974-1984'' from 2006. Like that display, this one reminds us what the arts scene in the East Village, SoHo and TriBeCa was like at the height of the AIDS epidemic, before gentrification and before the downtown ethos and aesthetic were packaged into family viewing spectacles like ''Rent'' or those by Blue Man Group. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "1950s-1960s Kinetic Abstraction," at the Andrea Rosen Gallery in Chelsea, Manhattan, New York City from June 27, 2007-August 24, 2007.

The article reviews the art exhibition "Survey of Paris Abstractions," which continues through August 26, 2007 at the Noguchi Museum in Long Island City, Queens, New York City.

The article reviews the exhibition "The French Evolution: Race, Politics & the 2005 Riots," at the Museum of Contemporary African Diasporan Arts in Brooklyn, New York City from May 25-September 9, 2007.

The article reviews the exhibition "New Economy," at Artists Space in SoHo, New York City from June 15-July 28, 2007.

The article reviews the exhibition "Here and Elsewhere," at the Bronx Museum of the Arts in New York City from April 1, 2007-August 19, 2007.

The article reviews the art exhibition "Matthew Brannon: Where Were We," at the Whitney Museum of American Art at Altria in New York City through August 31, 2007.

The article reviews the exhibition "Michael Bevilacqua: Drawing Under the Influence," at the Chelsea Art Museum in Chelsea, New York City through February 24, 2007.

The article reviews the exhibition "Art and Space: Park Place and the Beginning of the Paula Cooper Gallery," at the Archives of American Art in New York City through February 23, 2007.

The article reviews the exhibition "Artistic Collaborations: 50 Years of Universal Limited Art Editions," at the Museum of Modern Art in New York City through May 21, 2007.

The article reviews the exhibition "Biblical Art in a Secular Century: Selections, 1896-1993," at the Museum of Biblical Art in New York City from December 14, 2006 to March 11, 2007.

The article reviews the art exhibition "Private Treasures: Four centuries of European Master Drawings," at the Morgan Library & Museum,in Madison Avenue, New York City.

The article reviews the exhibition "Pre-Post: American Abstraction," at Greenberg Van Doren, 730 Fifth Avenue, 57th Street on November 11, 2006.

The article reviews the exhibition "Painter of Light," at the Luhring Augustine Gallery in Chelsea, Manhattan, New York City from September 14, 2006-October 28, 2006.

The article reviews art exhibitions featuring the works of John Singer Sargeant at Brooklyn Museum in New York through July 28, 2013, the works of Matthew Barney at the Morgan Library & Museum through September 2, and the works of William Eggleston at the Metropolitan Museum through July 28.