Gallery Roundup: One Sentence Reviews of Select New York Exhibitions
Kathy Butterly
James Cohan
48 Walker Street
January 9—February 14, 2026
At once seductively elegant and frumpily stilted, the twenty-one ceramic sculptures on view—whose contorted, vessel-like forms recall folded drapery or misshapen origami—embrace a more refined lexicon with great aplomb.
James Cohan
48 Walker Street
January 9—February 14, 2026
At once seductively elegant and frumpily stilted, the twenty-one ceramic sculptures on view—whose contorted, vessel-like forms recall folded drapery or misshapen origami—embrace a more refined lexicon with great aplomb.
Gloria Klein
Anat Ebgi
372 Broadway
January 9—February 28, 2026
Architectural schematics and woven patterns come to mind when contemplating three of Gloria Klein’s precisely wrought, sixty-by-sixty-inch paintings from the late 1980s, the grid-based compositions of which are emblazoned with dashes that diagonally stutter-step across the surface like pawns traversing a chessboard.
Anat Ebgi
372 Broadway
January 9—February 28, 2026
Architectural schematics and woven patterns come to mind when contemplating three of Gloria Klein’s precisely wrought, sixty-by-sixty-inch paintings from the late 1980s, the grid-based compositions of which are emblazoned with dashes that diagonally stutter-step across the surface like pawns traversing a chessboard.
James Bishop
Timothy Taylor Gallery
74 Leonard Street
January 15—February 28, 2026
Featuring eight paintings and eleven works on paper ranging from the 1960s to the late 1980s—the period during which James Bishop exhibited most regularly and the proverbial well to which historians reliably return—this show, curated by Molly Warnock, provides a rare opportunity to engage with a painter who was as demurely reclusive as he was prolific.
Timothy Taylor Gallery
74 Leonard Street
January 15—February 28, 2026
Featuring eight paintings and eleven works on paper ranging from the 1960s to the late 1980s—the period during which James Bishop exhibited most regularly and the proverbial well to which historians reliably return—this show, curated by Molly Warnock, provides a rare opportunity to engage with a painter who was as demurely reclusive as he was prolific.
© 2026 Andy Martinelli Clark