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The article presents a review of the exhibition "Richard Serra: New Sculpture," at the Gagosian Gallery's West 24th Street location in New York City through March 15, 2014, and at the gallery's West 21st Street location in New York City through February 8, 2014.

The article reviews sculptor Richard Serra's exhibition "Inside Out" at the Gagosian Gallery in New York City.

The article reviews the painting exhibition "Impressionist and Early Modern Painting: The Clark Brothers Collect," at the Metropolitan Museum in New York City.

The article reviews the knitting exhibition "Radical Lace & Subversive Knitting," at the Museum of Arts & Design in New York City.

The article reviews the exhibition "Soundtrack" at the Postmasters art gallery in Manhattan, New York City through May 4, 2014, which features works by video artist Guy Ben-Ner like the sitcom-satire called "Stealing Beauty" and "Foreign Names."

The article reviews the exhibition "Terrain" at the Jack Shainman Gallery in Chelsea, New York City through February 15, 2014, which features the photography of Jackie Nickerson.

The article reviews the exhibition "An image as the__ of a surface" at the Simone Subal gallery in Lower East Side, New York City from January to February 16, 2014, which features works of artist Julien Bismuth.

The article reviews Anke Weyer exhibition "Du" at the Canada art gallery in Lower East Side, New York City in January 2014.

The article reviews the exhibition "Images of an Infinite Film" featuring the works of Hollis Frampton and other artists at the Museum of Modern Art in New York through March 2, 2013

The article reviews the exhibition "Helmut Federle: The Ferner Paintings" at Peter Blum in Manhattan, New York City until January 18, 2014.

The article reviews several art exhibitions in the New York City including the "Robert Motherwell: Early Collages" at the Guggenheim Museum until January 5, 2014 "Chris Burden: Extreme Measures" at the New Museum of Contemporary Art until January 12, and the sound art and writing of Mike Kelley at the Museum of Modern Art P.S. 1 until February 2.

The article reviews the exhibition "Politics of Light" at the Richard Gray Gallery in Lower East Side, New York until December 14, 2013.

The article reviews the exhibition "At Zenith," by William Eggleston at Gagosian Gallery through December 21, 2013.

The article reviews an art exhibition featuring the works of artist Barbara Probst at the Murray Guy gallery in Chelsea, Manhattan, New York City until December 21, 2013.

The article reviews the exhibition "Sound Works 1963-2013" featuring works of artist William Anastasi held at the Bertha and Karl Leubsdorf Art Gallery in New York through November 30, 2013.

The article reviews the exhibition "The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk," at the Brooklyn Museum in New York City, which runs until February 23, 2014.

The article reviews the 2013 annual International Fine Print Dealers Association (IFDA) Print Fair exhibition, which runs until November 10, at the Park Avenue Harmony in New York City.

The article reviews the art exhibition "Sound Works 1963-2013," featuirng the works of William Anastasi at the Hunter College Art Galleries in New York City until November 30, 2013.

The article reviews the photography exhibition "Annette Kelm" held in Chelsea, New York City until November 2, 2013.

The article reviews several exhibitions in New York City including "The Lunar Landing" at Participant Inc. which runs until October 13, 2013, which features the work of Helen Oliver Adelson, "Secrets" at the Alexander and Bonin, which runs until October 13, 2013, which features the work of Michael Buthe, and "The Afronauts" at the Dillon Gallery, which runs until October 13, 2013, which features the work of Cristina de Middel.

The article reviews several exhibitions in New York City for October 2013 including Gretchen Bender's "Tracking the Thrill" at the Kitchen, "Dunhuang: Buddhist Art at the Gateway of the Silk Road" at the China Institute, and Charles Gaines "Notes on Social Justice" at the Paula Cooper Gallery.

The article reviews art exhibitions in Manhattan, New York City in 2013 including Cristina De Middel's "The Afronauts," "Leslie Hewitt's "Riffs on Real Time," and "Charline von Heyl's "Guitar Gangster."

The article reviews the exhibitions "Gretchen Bender: Tracking the Thrill" at The Kitchen gallery in Chelsea, New York until October 5, 2013 and the exhibition featuring artist Leslie Hewitt at the Sikkema Jenkins & Co. until October 5, 2013.

The article reviews an exhibition featuring the works of contemporary visual artist Leslie Hewitt at Sikkema Jenkins & Co. in Chelsea, Manhattan, New York until October 5, 2013.

The article reviews the exhibition "House and Universe," featuring the works of Mary Mattingly at the Robert Mann Gallery in Chelsea, Manhattan, New York until October 19, 2013.

The article reviews the exhibition "The Afronauts," at the Dillon Gallery, which runs through October 12, 2013.

The article reviews the exhibition "Tracking the Thrill" featuring the works of Gretchen Bender (1951-2004) at the Kitchen in Chelsea, New York through October 5, 2013.

The article reviews several art exhibitions in New York City in 2013 including "Gutai: Splendid Playground" at the Guggenheim Museum until May 8, "Sharon Lockhart/Noa Eshkol" at the Jewish Museum until March 24, and "Impressionism, Fashion and Modernity" at the Metropolitan Museum of Art until May 27.

The article reviews the exhibition "Sharon Lockhart/Noa Eshkol" at the Jewish Museum in New York City until March 24, 2013.

The article reviews the exhibition "Alexandre Singh: The Pledge" at the Drawing Center in New York through March 13, 2013.

The article reviews the art exhibition Go: a community-curated open studio project at the Brooklyn Museum in New York through February 24, 2013.

The article reviews the exhibition "'Come Closer: Art Around the Bowery, 1969-1989" at the New Museum, Lower East Side, New York City until January 6, 2012.

The article reviews the exhibition "Artists in America: Highlights of the Collection From the New Britain Museum of American Art" at the Nassau County Museum of Art in Roslyn Harbor, New York through February 24, 2013.

The article reviews the exhibition "Angels and Tomboys: Girlhood in 19th-Century American Art'' at the Newark Museum in Newark, New Jersey through January 20, 2013.

The article reviews the exhibition "Absorbed by Color: Art in the 20th Century" at the Heckscher Museum of Art in Huntington, New York which runs through December 2,2012.

The article reviews the exhibition "The Salon: Art + Design" at the Park Avenue Armory in New York until November 12, 2012.

The article reviews the exhibition "Ship to Paradise" at the Heckscher Museum of Art in New York through November 25, 2012.

Juried exhibitions, in which the works have been selected from a pool of submissions, used to be more common, although artists have long expressed conflicted feelings about them. They are one of the best ways for little-known artists to get their work shown in major museums or galleries, yet charges of favoritism and nepotism have dogged juried exhibitions for centuries. ''Artists Choose Artists,'' the second such show at the Parrish Art Museum in Southampton, tweaks the model: works by the exhibition's seven East End jurors appear alongside those of the local artists they selected; each juror has chosen two artists out of more than 200 submissions. [ABSTRACT FROM AUTHOR]

Pablo Picasso needs no introduction, but you do have to orient yourself whenever you touch down on a body of his work. After all, he lived through multiple wars, artistic revolutions and domestic regimes. He worked in several mediums, helped invent one (collage) and marveled over another (cinema). However, the beauty of ''Picasso's Vollard Suite: The Sculptor's Studio,'' on view at the Bruce Museum in Greenwich, is that it doesn't require an extensive Picasso review to understand. Instead, it focuses on a small body of work -- a group of etchings made from 1933 to 1934 -- that encapsulate many of the artist's concerns during that period. At the time the etchings were made, Picasso was living in Gisors, a town about 45 miles northwest of Paris where he bought a chateau in June 1930. His love interest was Marie-Therese Walter, a young woman he had met in 1927. At the time of their meeting Marie-Therese was 17 and Picasso was 45, and married to the Russian ballet dancer Olga Khokhlova. (Picasso and Olga remained married until her death in 1954 -- mostly because he would have had to divide his property evenly with her if they divorced.) [ABSTRACT FROM AUTHOR]

Judging from the comments in the visitors' book at the Bruce Museum, ''Power Incarnate: Allan Stone's Collection of Sculpture from the Congo'' is a very popular show. Several writers express their pleasure at seeing African objects at the Bruce instead of the customary American and European art. One entry links the two traditions. ''Picasso's inspiration!'' it says (an exhibition of Picasso's etchings is also on view at the museum). [ABSTRACT FROM PUBLISHER]

Some of the knottiest issues in ''Embodied: Black Identities in American Art From the Yale University Art Gallery'' don't reveal themselves at the entrance to the show. Instead, they appear later, like in the ''Viewer's Note'' on the wall next to Adrian Piper's photographs from the 1971 series ''Food for the Spirit.'' Mounted next to three black-and-white photographs of the artist standing before a mirror, the short statement says that Ms. Piper's ''critique of identity politics and desire to distance herself from being categorized as a 'black artist' '' led her to refuse reproduction rights for the work to appear in the exhibition catalog. However, the work has been included in the exhibition anyway to ''highlight the urgency'' of issues around art and racial identity. [ABSTRACT FROM AUTHOR]

Art can be very good at illuminating history, showing how shifting geographies, ideologies and violent upheavals have real but often hidden effects on individuals. That, in a sense, is what the exhibition ''After the Fall,'' at the Hudson Valley Center for Contemporary Art in Peekskill, sets out to do. The show features 18 artists from six countries in Eastern and Central Europe, most of whom were born under Communist rule but came of age ''after the fall.'' It's a great premise, but in the end a very academic show. What do I mean by ''academic''? One definition might include art based on the mediums, styles, techniques and theories espoused by art institutions. It can also mean methods and styles used so many times that they become stultifying templates: overly recognizable, ready-made devices that, in particularly bad moments, feel like gimmicks. ''After the Fall'' is in this latter category, with a large number of paintings borrowing the techniques and ideas developed by Gerhard Richter and Luc Tuymans. [ABSTRACT FROM AUTHOR]

In the 18th century, artists went to Rome. Or, if they could afford it, on a whole Grand Tour of Europe. By the 19th century, art travel had gone global: the French painter Eugene Delacroix went to North Africa, the Americans Frederic Church and Winslow Homer to South America and the Caribbean. And John La Farge, a New Yorker who grew up in a French-speaking family, headed for the South Pacific, spending nearly a year there before Gauguin had even arrived. Best known for his stained-glass windows, Mr. La Farge (1835-1910) was also an illustrator, painter, inventor and writer. He had been to Paris, where he studied with Thomas Couture, and in 1886 to Japan. [ABSTRACT FROM PUBLISHER]

Can there be such a thing as an American still life? A pretty good case is made for it in the opening galleries of ''American Still Life: Treasures From the Parrish Art Museum'' in Southampton, N.Y. The exhibition focuses on a genre -- traditionally in painting and featuring images of inanimate objects -- that has existed since the ancient period. Paintings of food appeared as funerary offerings in Egyptian tombs. Pliny the Elder, the first-century A.D. Roman author, claimed that the grapes of the Greek painter Zeuxis were so lifelike, birds attempted to eat them. Later, European still life served as a vehicle for allegories and meditations on art, life and mortality. [ABSTRACT FROM AUTHOR]

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]

Wouldn't it be nice if we could all live peacefully on this continent, engaging with nature in our myriad ways? History has not unfolded that way, of course. But you wouldn't know it by visiting ''Engaging With Nature: American and Native American Artists (A.D. 1200-2004)'' at the Montclair Art Museum. Here, diverging views of nature are generally avoided. Instead, conflicts are smoothed over and a chorus of agreement rises from the walls. [ABSTRACT FROM AUTHOR]

It's obvious from the start that ''Samurai in New York'' isn't going to be about robed warriors taking the city, in spite of the sensational name. The show's subtitle -- ''The First Japanese Delegation, 1860'' -- makes that pretty clear, and the introductory wall text spells it out: The visit in question, 150 years ago, was ''all about trade,'' a matter of setting up a business agreement. And yet ''Samurai'' is one of those small, in-the-hallway exhibitions at the Museum of the City of New York that delivers more than you'd expect. In this case it offers a lot to think about in terms of photography and its role in early publicity and celebrity culture as well as a fascinating look at how different societies responded to 19th-century stirrings of globalization. [ABSTRACT FROM AUTHOR]

''Brion Gysin was a subversive,'' we are told in a wall text just off the elevator at this New Museum retrospective. Gay and itinerant, he had ''no family, no clique, no fixed profession and, often, no fixed address.'' He lived on multiple continents. He communed or collaborated with William S. Burroughs, Alice B. Toklas and the Rolling Stones. His artwork was shape-shifting; his methods fell outside the pantheon of recognized mediums. Gysin's life and work were partly shaped by failure. In 1935, at 19, he was to be included in an exhibition of Surrealist drawing in Paris, alongside Max Ernst, Salvador Dali, Rene Magritte and Pablo Picasso: an extraordinary stroke of luck, reversed at the last minute when Andre Breton, the notorious Surrealist capo, ordered Gysin's pictures taken down on the day of the opening. The artist would come to view this edict as a lifelong curse. [ABSTRACT FROM AUTHOR]

Once upon a time, you could glue a cigarette butt to a canvas or haul dirty tires into a gallery and upset people's nervous systems. Now, art is so adept at absorbing any whiff of mischief that it is difficult to retain any meaningful vestige of the street. This is especially true in ''Keith Haring: A New Dimension'' and ''Chakaia Booker: Eminent Domain,'' on display in the Museum Building and the Domestic Arts Building at Grounds for Sculpture in Hamilton. Ms. Booker works with tires. There is a long tradition of this, leading back at least to Robert Rauschenberg, who scavenged Lower Manhattan to create his ''Combines'' from the 1950s and '60s. Ms. Booker's addition to the conversation in the early '90s was to link tires with race -- that is, the various shades of dark skin falling under the rubric of ''blackness,'' and the visual rhyming of tire treads with African scarification and body painting. (Ms. Booker also makes elaborate, sculptural costumes; someone should do an exhibit of these, since they have become, in recent years, her most intriguing works.) [ABSTRACT FROM PUBLISHER]