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Senga Nengudi Through July 28 at Sprüth Magers, 22 East 80th Street, Manhattan; 917-722-2370, spruethmagers.com. On long-term view at Dia:Beacon, 3 Beekman Street, Beacon, N.Y.; 845-440-0100, diaart.org. Senga Nengudi is [...]

The maverick artist, the subject of two exhibitions, is known for his grueling street performances, but his real enchantment lies in something weirder. Artists often adopt personas in their work [...]

The Times's art critics select 26 of their favorite art books and books related to art of the year. A four-volume Leonardo da Vinci compilation, the writings of Jill Johnston, [...]

Sol LeWitt's book art; Ridley Howard's paintings; Kahlil Robert Irving's assemblages; Yvonne Thomas's abstractions; and William Powhida's critical chart-paintings. Sol LeWitt Through Oct. 1. Printed Matter; 231 11th Avenue, Manhattan; [...]

A small sign outside ''Nancy Spero: Paper Mirror'' at MoMA PS1 says ''this exhibition may not be suitable for all audiences.'' Fair enough, since the show contains some abstract, impressionistic [...]

What differentiates the work in ''New Order: Art and Technology in the Twenty-First Century'' from much of the art elsewhere at the Museum of Modern Art is that the objects [...]

Very little is theoretical about the work of the Karrabing Film Collective: The history of genocide and discrimination described in their films has been experienced firsthand by the Belyuen community [...]

Very little is theoretical about the work of the Karrabing Film Collective: The history of genocide and discrimination described in their films has been experienced firsthand by the Belyuen community [...]

Lina Bo Bardi and Giancarlo Palanti Through June 15. Gladstone Gallery, 130 East 64th Street, Manhattan; 212-753-2200, gladstone64.com. Some architects prefer their creations devoid of people -- it photographs better [...]

Byline: MARTHA SCHWENDENER Nearly 18 years have passed since the artist and activist Tania Bruguera first mounted -- or attempted -- 'Untitled (Havana, 2000)' at the 7th Havana Biennial. Critical [...]

CORRECTION APPENDEDThe difference between Brooklyn and the city's other art districts is that a huge number of artists actually live here -- ask anyone who's reviewed applications for grants or [...]

The article offers information on various commercial art galleries in Brooklyn, New York City, and its contemporary arts. Topics discussed include the auxiliary space of the landmark gallery Pierogi, The Boiler gallery, the Studio 10, and the arrival of the blue-chip Luhring Augustine gallery. Also mentioned the improved version of the Arte Povera, the Active Space building, and the Auxiliary Projects run by artists Jennifer Dalton and Jennifer McCoy.

The article previews art exhibitions held at art galleries in New York City from December 6, 2015 to February 27, 2016 including "The Secret Garden," featuring work of photographer David Gilbert and "Painting Tranquility: Masterworks by Vilhelm Hammershoi from SMK-The National Gallery of Denmark.

The article reviews art exhibitions to be held at various museums in New York City as of November 20, 2015 through July 31, 2016 including "Philippine Gold: Treasures of Forgotten Kingdom," "Celebrating the Arts of Japan: The Mary Griggs Burke Collection" & "Ernest Hemingway: Between Two Wars."

The article reviews the exhibitions "Zanele Muholi: Isibonelo/Evidence," "Doris Salcedo" and "Revolution of the Eye: Modern Art and the Birth of American Television," held at the art museums in New York City through November 1, 2015.

The article reviews arts exhibitions in New York City including "Drift" by Caroline Bergvall through February 15, 2015, ceramic sculptures "The Curve" through February 14, 2015 and eccentric self-portraits "Fetching Blemish " through February 15, 2015.

The article focuses on the Société Anonyme experimental museum and incorporated society, founded by Katherine Dreier, Marcel Duchamp, and Man Ray in 1920. The group, which is originally composed of critics, museum directors, patrons and artists,aims to promote modern art in the U.S. The art organization's collection was not better known because the Museum of Modern Art preceded it, founded in 1929.

The history of modern art is often described as a history of outrage. Take, for instance, this episode involving found objects: in 1913, the poet Guillaume Apollinaire published four reproductions of Pablo Picasso's sculptural constructions, made of scavenged materials, in a small Parisian journal -- upon which 34 of the journal's 40 subscribers immediately canceled their subscriptions. Apparently, even those avant-garde consumers weren't ready to accept such objects as art. Nearly a hundred years later, found objects and materials have become so integral to contemporary art that it is hard to distinguish them from other media. (Marcel Duchamp, who made his first sculpture with found objects in 1913, even considered paintings ''ready-made'' artworks because they were created with paint from mass-produced tubes.) ''Found at the Aldrich'' at the Aldrich Contemporary Art Museum in nearby Ridgefield, Conn., highlights the practice in the work of six artists, though the outrage it once provoked now seems distant. [ABSTRACT FROM AUTHOR]

''Pacific Standard Time: Art in L.A., 1945-1980,'' an aggregation of dozens of exhibitions at museums and galleries that got under way in Southern California last fall, celebrates the emergence of Los Angeles as a contemporary art center after World War II. On the East Coast, meanwhile, a much more modest show, drawn from the collection of a single art patron, pays homage to the same phenomenon. That show, ''EST-3: Southern California in New York: Los Angeles Art From the Beth Rudin DeWoody Collection,'' is at the Parrish Art Museum in Southampton. It riffs on the same time-zone theme -- EST-3 refers to Eastern Standard Time minus three -- and includes more than 150 works arranged into three simple sections -- people, places and things -- by David Pagel, a Los Angeles-based adjunct curator for the museum. [ABSTRACT FROM AUTHOR]

Any time wall texts are mounted next to the works in an exhibition, a familiar tension arises between words and images, reading and seeing. The information might be crucial to understanding the images, but spend too much time reading, and you feel as if you've visited a textbook rather than an art show. There is some danger of this with ''Princes and Painters in Mughal Delhi, 1707-1857,'' because the context in which the images were made is so complex that it requires explanation. The show covers the late reign of the rich and powerful Mughals, from whom we derive the word mogul. At their height the Mughals ruled over much of the land that today comprises India, Pakistan, Bangladesh and Afghanistan, founding the opulent city of Shahjahanabad, now Old Dehli, in 1648. The exhibition tracks their decline, which coincided with the rise of British rule in India. [ABSTRACT FROM PUBLISHER]

Modern museums have their origins in the German wunderkammer, or cabinet of curiosities, collections of objects assembled by European aristocrats that included everything from goblets to unusual biological specimens. The Cabinet at the Frick Collection, a modest space between the gift shop and the stairwell to the bathrooms, doesn't hold the same range of marvels. In ''A Passion for Drawings,'' a show of 10 works on paper, donated by Charles Ryskamp, a former Frick director who created the Cabinet during his tenure in the late 1980s and '90s, functions almost like a wunderkammer, offering a curious window into nature, history and politics. On the biological end is a watercolor by Pierre-Joseph Redoute (1759-1840), a Flemish-born artist who published about 2,100 botanical engravings. The watercolor here, of two plum varieties, is a study for an unrealized engraving. What's also interesting about Redoute is how he navigated the vagaries of patronage during a complicated historical period: before the French Revolution he worked for Marie Antoinette; afterward for Empress Josephine, Napoleon Bonaparte's first wife and a fanatic of roses, Redoute's specialty. [ABSTRACT FROM PUBLISHER]

''Museums are like the family sepulchers of works of art,'' wrote Theodor Adorno, the 20th-century German philosopher, who pointed out that ''museum'' and ''mausoleum'' even sound alike. ''Spies in the House of Art: Photography, Film and Video,'' a Metropolitan Museum of Art exhibition of 17 contemporary works inspired by museums, all from the Met's collection, doesn't mention Adorno by name. But it nods toward him in an introductory wall text telling us that although artists generally want to see their work in museums, ''they may joke among themselves with gallows humor that museums are mausoleums, places where art goes to die.'' [ABSTRACT FROM AUTHOR]

In a 1965 essay on postwar science-fiction films Susan Sontag noted a common ingredient: a ''depersonalization'' of the characters, a kind of emotionless zombie state that occurred when their minds were taken over by aliens or robots. Some of this, she wrote, reflected the basic conditions of modern life. But it also pointed toward something new in the nuclear era. Now humans had to contend not only with the fear of death but also the ''psychologically insupportable'' possibility of a ''collective incineration and extinction which could come at any time, virtually without warning.'' Art of the 1960s exhibited similar symptoms of depersonalization. Where anxiety and trauma sat on the surface of slashed, burned and dirt-crusted canvases from the 1940s and '50s, or in the emaciated forms of Giacometti's sculptures, by the late '50s the personal, existential and emotive were replaced by a new detachment. [ABSTRACT FROM PUBLISHER]

Last year was a big one for Fluxus, despite the fact that this international network of artists, composers and poetic pranksters has been defunct for several decades. Attention in art history is often bestowed posthumously, however, and because 2011 was the 50th anniversary of Fluxus's first New York project -- an exhibition in book form of performance-related materials -- half a dozen shows have been mounted locally to commemorate the group's existence. One of them is ''at/around/beyond: Fluxus at Rutgers University'' at the Jane Voorhees Zimmerli Art Museum in New Brunswick. Rutgers played a special role in Fluxus. The artists Allan Kaprow, Geoffrey Hendricks and Robert Watts, described by their fellow artist Carolee Schneemann as a kind of ''Fluxus-seedbed,'' all taught there in the late 1950s or '60s. According to the brochure that accompanies the exhibition, George Brecht, a chemist at Johnson & Johnson in New Brunswick, contacted Mr. Watts after seeing a faculty exhibition in 1957, and the two met for lunch every week at the local Howard Johnson's to discuss their common interest in art and science. Mr. Brecht became a core member of Fluxus. And George Maciunas, one of the driving forces behind the group, organized Flux-mass, a mock-religious action performance at Rutgers in 1970. [ABSTRACT FROM AUTHOR]

The title ''Ripped: The Allure of Collage'' hinges on a bit of clever wordplay, suggesting gym-toned bodies and six-pack abs. Of course, collage originally involved torn paper rather than taut muscles. But the hint of sexiness is appropriate, since collage is one of modern art's most seductive mediums, in which cast-off and non-art materials are assembled into avant-garde objects. The exhibition at the Heckscher Museum in Huntington gets part of this narrative right, showcasing early collage works that resonate with the excitement of the new and slightly forbidden. The show is far weaker, however, when looking at contemporary art. [ABSTRACT FROM PUBLISHER]

Nothing draws people together like a crisis. The reigning global conversation at the moment -- if one is to judge by newspaper headlines -- is about the worldwide economic mess. Before that, however, the state of our environment dominated our collective consciousness. It is this second issue that is addressed in ''Marina Zurkow: Friends, Enemies and Others'' at the Montclair Art Museum. Fitting the global nature of our eco-quandary, Ms. Zurkow's work encompasses a variety of geographic regions, and the aesthetic upon which she bases her animations and their accompanying prints is culled from a global range of art history sources. The message one might take from this broad-based approach is that it's an uncomfortably small world after all. [ABSTRACT FROM AUTHOR]

Portraits were not just a popular genre in the early days of this nation; they were among the only art that patrons would pay for. As a result, many American artists went abroad, hoping to test their abilities on juicier subjects, like allegorical or historical epics. But portraiture has remained an important American genre, something that can serve as a springboard to larger ideas. This is evident in some of the works in ''American Portraits: Treasures From the Parrish Art Museum'' in Southampton. Rather than proceeding chronologically, the exhibition moves through the human life cycle, a tack that feels appropriate for portraiture. The show also emphasizes the importance of a sense of place -- something that can get lost in the white-wall art space of a museum or gallery -- by featuring lots of local landscapes and East End artists. [ABSTRACT FROM AUTHOR]

Jackson Pollock, the American painter who became famous for pouring and dripping paint on canvases in the mid-20th century, has become a tourist attraction. In Springs, up the road from East Hampton Village, you can visit the house he shared with his wife, the painter Lee Krasner, which also served as the location for the 2000 film ''Pollock,'' and buy a mouse pad or coffee mug decorated with Pollockesque drips. Nearby is Green River Cemetery, where the grave of Pollock, who died in an alcohol-related car accident in 1956, is marked by a huge boulder. And currently the Pollock experience can be enhanced with ''Richard Prince: Covering Pollock'' at Guild Hall Museum in East Hampton. Mr. Prince is, of course, a famous artist himself. Although he was not included in the landmark ''Pictures'' exhibition at Artists Space in SoHo in 1977, he has become, like his onetime girlfriend Cindy Sherman, a principal figure of the Pictures generation. For those artists, art was not about creating original objects; rather, it meant recirculating images they had been steeped in since birth. This was the first generation of artists raised on television, and the first one to be called postmodern. [ABSTRACT FROM AUTHOR]

The Beatles immortalized the plight of an aspiring author in their 1966 song ''Paperback Writer.'' But what about the paperback painter? A comprehensive view of that lot can be found in ''The Painting World of James Avati'' at the Monmouth Museum in Lincroft, an intriguing show that surveys the life and work of America's premier mid-20th-century paperback-cover artist. Mr. Avati's biography would make a good book or film. In fact, it has: Playing on a monitor in the exhibition is Piet Schreuders's 2000 film ''James Avati: A Life in Paperbacks.'' It serves as a fine accompaniment -- along with a 2005 book of the same title by Mr. Schreuders and Kenneth Fulton -- to an exhibition of more than 60 original paintings, studio photographs, vintage paperbacks and other ephemera. (Many of the works are from the collection of Mr. Avati's family and are for sale.) [ABSTRACT FROM PUBLISHER]

The Olympics of contemporary art is happening this summer as nations around the world send artists to represent them at the Venice Biennale. But work that has a biennial flavor -- in other words, it addresses a global audience, but with a local accent -- can be seen closer to home in two shows at the Wadsworth Atheneum Museum of Art in Hartford: ''Shaun Gladwell: Matrix 162'' and ''Connections Gallery: Iona Rozeal Brown.'' One of the artists is even biennial-certified: Mr. Gladwell, along with three others, represented Australia at the 2009 Venice Biennale. The Olympics is a particularly apt analogy for Mr. Gladwell, because his work is couched in sports -- although he leans toward the extreme rather than the I.O.C.-approved. Raised on a steady diet of skateboarding, surfing and other athletic subcultures, Mr. Gladwell has channeled these pursuits into videos that also nod heavily to art history. [ABSTRACT FROM AUTHOR]

Among the anecdotes circulated about the legendary photographer Richard Avedon (1923-2004) is one involving the Duke and Duchess of Windsor -- that is, King Edward VIII of England and Wallis Simpson, the American divorcee he married after abdicating the throne. In 1957, Avedon was commissioned to take a portrait of the couple, who were notoriously photo-savvy -- way ahead of the curve of today's paparazzi-beleaguered movie stars and royals. Knowing that they were dog lovers, obsessed with their own collection of pugs, Avedon is said to have told them that the taxi he had taken to meet them had run over a dog (which wasn't true). The couple grimaced sympathetically, and -- snap! -- Avedon took the picture, which is on view in ''Richard Avedon: Photographer of Influence'' at the Nassau County Museum of Art in Roslyn Harbor. [ABSTRACT FROM AUTHOR]

One of the ways modern art confused critics and audiences in the early 20th century was with its images of machines, bridges and factories. Were the artists celebrating industry or condemning it? Were they on the side of progress or recoiling from its advances? The answer was, of course, all of these things -- sometimes at the same time. An interesting case can be seen in ''Jolan Gross-Bettelheim: An American Printmaker in an Age of Progress'' at the Jane Voorhees Zimmerli Art Museum in New Brunswick. [ABSTRACT FROM PUBLISHER]

Art can, at times, have a bit of an audience problem. On the one hand, it wants to speak to the largest population. On the other, it wants to participate in conversations that only a handful of people are knowledgeable about -- philosophy, say, or politics, or art itself. Betsabee Romero, an artist born in 1963, who was educated in Mexico and Paris and now lives in Mexico City, has hit upon a solution. ''The car is by far the object that attracts the greatest aesthetic attention among people of all ages and social classes,'' Ms. Romero says in a statement printed on the wall in her current exhibition, ''Betsabee Romero: Lagrimas Negras,'' at the Neuberger Museum of Art in Purchase. [ABSTRACT FROM AUTHOR]

Art and literature used to be linked more closely than they are today. Poets and novelists wrote art criticism; artists painted, sculptured and photographed writers. Now, artists are more likely to depict media celebrities, and younger critics are often the product of art history departments. So it's as if one steps back in time when visiting ''Juliao Sarmento: Artists and Writers/House and Home,'' a cross-media show at the Parrish Art Museum in Southampton. But only a little bit back in time. Mr. Sarmento, a Portuguese artist, devours the work of contemporary authors, and their books and words are featured prominently in his work. The current show also makes a point of connecting him to one of his favorite American authors, James Salter, who lives nearby in Bridgehampton. [ABSTRACT FROM PUBLISHER]

The people have spoken, and the Aldrich Contemporary Art Museum listened. Research conducted by the museum found that community members would like to see more exhibitions linked together by a common theme. And while giving the people what they want is not always a successful strategy -- either for increasing museum attendance, or for art in general -- it works well in the first exhibitions under the new plan, a group of six solo projects by contemporary artists titled ''Portraiture at the Aldrich Contemporary Museum.'' Portraiture itself is an ancient, and often rather conservative, practice. Oxford Art Online, a widely accepted academic source, cites a 1974 British Museum catalog that defines a portrait as an image ''in which the artist is engaged with the personality of his sitter and is preoccupied with his or her characterization as an individual.'' Putting aside the old-school gender designation of artists as men, the artists at the Aldrich challenge most of these assertions. In this group of projects, the ''sitter,'' the ''individual,'' the ''personality'' and even the ''artist'' are contested labels. [ABSTRACT FROM AUTHOR]

What does it mean, in the 21st century, for a Western artist to borrow heavily from aesthetic traditions of the East? It's a question that hovers around the career retrospective ''Rebecca Salter: Into the Light of Things'' at the Yale Center for British Art and the pendant show ''Rebecca Salter and Japan'' at the Yale University Art Gallery. Ms. Salter is a British artist who spent six years, in the late 1970s and early 1980s, in Kyoto, Japan, working first in ceramics before switching to two dimensions. Her canvases and works on paper -- many objects here combine the two mediums -- draw upon centuries-old traditions in ceramics, as well as Japanese calligraphy and woodblock prints. They also sync up, however, with Western abstraction, monochrome painting and midcentury Minimalism. [ABSTRACT FROM AUTHOR]

One of the good things about art history is that it is always being rewritten. In the case of the New York School, that self-described Greatest Generation of midcentury artists, newer histories have moved past the singular, heroic-figure narrative to emphasize the era's inherent collectivism and internationalism, and the presence of women -- and not just as wives or lovers. ''Esteban Vicente: Portrait of the Artist,'' at the Parrish Art Museum in Southampton, starts with one artist, but quickly -- and thankfully -- opens up into one of these broader, more inclusive chapters. Vicente (1903-2001), a Spanish-born artist who lived most of his life in New York, was best known for his collages, and a big red abstract-floral one greets visitors at the entrance. A watercolor by his contemporary Philip Pavia, ''Freefall No. 2'' from 1959, hangs nearby, however, turning the installation immediately into a dialogue. [ABSTRACT FROM AUTHOR]

The title of the current exhibition at the Nassau County Museum of Art, ''Milton Avery and the End of Modernism,'' on view through May 8, signals that it is an ambitious show. The end of modernism? That's a huge subject, particularly in an art world where categories like modernism, postmodernism and the contemporary are still -- and will probably never stop -- being sorted out. The exhibition is a fitting tribute, however, to a figure who has never settled comfortably into one art historical narrative. At the beginning of his career, Mr. Avery painted too abstractly for critics' tastes; in the later years, not abstractly enough. [ABSTRACT FROM PUBLISHER]

This is a collectors' show. Nothing wrong with that. After all, collectors are people, too -- very important people. They are the ones who keep the lights on and the curators running. Without patrons like the Medici, Pope Pius IV and the kings of France, we would not have Michelangelo, Leonardo or Versailles. But in the same way museum exhibitions dedicated to one artist can distort the collective, network-based nature of art history, exhibitions based on a single patron's collection can misrepresent the career of the artists in them. Such is the case with ''The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie'' at the Yale Center for British Art in New Haven. [ABSTRACT FROM AUTHOR]

Faith Ringgold, who turned 80 this year, is best known for the story quilts that she began making in the 1980s. But her paintings on canvas from the 1960s are also rather extraordinary. So it's surprising that a comprehensive exhibition of these works is happening for the first time, with ''American People, Black Light: Faith Ringgold's Paintings of the 1960s,'' at the Neuberger Museum of Art in Purchase. And yet, maybe it's not so surprising. After all, Ms. Ringgold was working against the grain of '60s New York art by making figurative paintings. Her work pulled from European Modernism, but also from African design motifs and American folk art. And, of course, Ms. Ringgold was a black woman attempting to insert herself into a tradition dominated by white men. [ABSTRACT FROM AUTHOR]