Abstraction is in good kind in artwork establishments in the intervening time. The Met’s present retrospective of midcentury Ojibwe artist George Morrison brings out a facet of Summary Expressionism that’s hardly ever mentioned in artwork histories, and nicely price seeing. Although nonetheless figurative, the work of Susan Rothenberg, finest identified for depicting horses, convey their topics to the brink of abstraction in her present exhibition at Hauser & Wirth in Chelsea. On the opposite finish of the summary spectrum, Larry Bell’s minimalist cubes are popping up everywhere in the metropolis this fall. At the very least that’s the way it appears — you possibly can see them on the Judd Basis and outdoor in Madison Sq. Park. When you’re making the rounds, ensure that to see June Leaf’s retrospective on the Gray Artwork Museum. Within the phrases of author Faye Hirsch, they’re carnivalesque. And a pleasure to behold. —Natalie Haddad, Opinions Editor
Susan Rothenberg: The Climate
Hauser & Wirth, 542 West twenty second Avenue, Chelsea, ManhattanThrough October 18
Susan Rothenberg, “Blue Frontal” (1978), acrylic, Flashe, and tempera on canvas (© The Property of Susan Rothenberg / Artists Rights Society (ARS), New York; picture by Object Research, courtesy Hauser & Wirth)
“Each image is an accumulation of singular marks rather than a synthesis of gestures, each brushstroke clearly stating its place within the larger whole of the image.” —Leah Triplett Harrington
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June Leaf: Taking pictures from the Coronary heart
Gray Artwork Museum at New York College, 18 Cooper Sq., East Village, ManhattanThrough December 13
June Leaf, “Woman Theater” (1968), oil on canvas with wooden, nylon rope, tin, and chain (© June Leaf and Robert Frank Basis; courtesy the Smithsonian American Artwork Museum)
“[The exhibition] captures Leaf’s restless experimentation across media and the unceasing movement and performance-like nature of her works, including a carnivalesque playfulness.” —Faye Hirsch
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Larry Bell: Irresponsible Iridescence
Judd Basis, 101 Spring Avenue, Soho ManhattanThrough January 31, 2026
Larry Bell, “coated ss” (2021), Kelp and Limoncello laminated glass coated with Stainless Metal and Tio2 Peacock laminated glass coated with inconel (picture Nancy Zastudil/Hyperallergic)
“[Bell’s] creative process relies on improvisation, intuition, and trust, with his decisions guided by spontaneity. ‘Improbable’ is his favorite condition with which to engage.” —Nancy Zastudil
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Larry Bell: Improvisations within the Park
Madison Sq. Park Conservancy, Madison Sq. Park, Flatiron, ManhattanThrough March 15, 2026
Artist Larry Bell with the massive glass “Fourth of July in Venice Fog” (2018) work in Madison Sq. Park (pictures Hrag Vartanian/Hyperallergic)
“In Madison Square Park, the artworks reflect the world around them, collecting leaves in the glass boxes, and providing a respite from the daily grind.” —Hrag Vartanian
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The Magical Metropolis: George Morrison’s New York
Metropolitan Museum of Artwork, 1000 Fifth Avenue, Higher East Aspect, ManhattanThrough Could 31, 2026
George Morrison (Grand Portage Chippewa), “The Antagonist” (1956), oil on canvas; Whitney Museum of American Artwork (© George Morrison Property. Photograph © Whitney Museum of American Artwork / Licensed by Scala / Artwork Useful resource, NY)
“As many discoveries and insights as I gained from this compact, beautifully installed exhibition, a deepening curiosity about the artist arose.” —John Yau
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