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Deborah Druick’s anonymous, semi-hidden female figures Nino Meier entice with their lively form and patterning.

Intended to point to constantly changing life beyond earthly boundaries, Tatsuo Miyajima’s new work Lisson Gallery takes the mind both back in human time and far beyond human experience and understanding.

Iconic feminist artist Sylvia Sleigh’s male figures (this one from 1975) still have the power to surprise @OrtuzarProjects

Titled ‘Neo Jomon,’ Japanese ceramic artist En Iwamura’s sculpture at Ross and Kramer Gallery updates ancient Japanese pottery with a new consideration of the age-old ‘cord’ pattern.

Joan Jonas’ new installation ‘Empty Rooms’ Gladstone Gallery features cloud-like paper sculpture, a towering grid of tree drawings and a video of a young woman in silhouette, an enigmatic but intriguing view of the natural world.

Robert Indiana’s painting of the shadow of an easel gifted to him by Ellsworth Kelly, now part of an exhibition of his early painting Kasmin Gallery is both artwork and conversation between two art practices.

Lush colors leap out from Clare Woods’ oil on aluminum paintings at Stephen Friedman Gallery in Tribeca Stephen Friedman Gallery , her pictures of arranged flowers and potted plants conveying a wildness at odds with their domestication.

Known for large watercolor, gouache and ink paintings that picture the animal world through the lens of human (mis)understanding, Walton Ford’s new work @gagosian focuses on animals in the menagerie of the wealthy early 20th century Italian heiress Luisa Casati.

Jane Rosen’s elegantly streamlined glass and stone sculptures at Bienvenu, Steinberg and C inspire admiration for the natural world without dramatizing it.

Aaron Gilbert’s powerful new paintings at Gladstone Gallery find transcendence in urban environments.

Chicago artist Rebecca Shore’s paintings at Derek Eller Gallery picture rigidly controlled environments dominated by angles – a bedroom with perfectly unrumpled beds, a wall with geometric wallpaper and a grid of rectangular frames – yet each image subtly disrupts order.

Tyler Mitchell’s striking new photos in his show ‘Ghost Images’ Gagosian aim to picture ‘unseen presences that are deeply felt.’

Landscapes viewed from a car crop up regularly in 20th century art, but Linda Gottesfeld’s landscapes viewed ON a car at George Adams Gallery offer a different take on the road trip.

Regulated by a grid format, yet pleasingly undulating, Nigerian ceramic artist and professor Ozioma Onuzulike’s wall-mounted textiles at Marc Straus Gallery are immediately eye catching.

Irving Penn’s flower photographs, featured in Vogue’s annual Christmas issues from 1967 – 1973 and published in a volume titled ‘Flowers’ in 1980, are the launching point and raison d’etre of Sharon Core’s new body of work at Yancey Richardson Gallery, ‘Facsimile.’

David Kennedy Cutler’s bed, his shorts, his plants and more personal items line the walls of Derek Eller Gallery in the form of paintings that foreground the artist himself as subject.

Olivia Erlanger’s uncanny dioramas and drawings at Luhring Augustine Gallery’s Tribeca space invite us to ponder post-human landscapes.

In his show at Marian Goodman, Tavares Strachan brings remarkable, underappreciated biographies to light via highly engaging sculpture and installation. Here, a ceramic sculpture of the Bahamian musician Exuma stands in a field of wheat grass under a text by James Baldwin.

Indigenous Argentinian weavers Claudia Alarcon and members of the Silat Collective carry on tradition, recall their ancestors and convey messages from dreams and the subconscious in woven work at James Cohan Gallery.

This head in vanessa german’s new show Kasmin Gallery features elaborate decoration, a quilted backing, and a long, poetic list of not just of materials but of concepts on the gallery’s checklist, ending in ‘have faith.’