Gallery Roundup: One Sentence Reviews of Select New York Exhibitions
Arlene Shechet
Pace
508 and 510 W 25th Street
September 11—October 24, 2026
Arlene Shechet’s latest solo exhibition with Pace further delineates the rift between her obtrusively outsized aluminum sculptures and the intimately scaled, mixed-media ceramic works for which she is beloved by this writer.
Pace
508 and 510 W 25th Street
September 11—October 24, 2026
Arlene Shechet’s latest solo exhibition with Pace further delineates the rift between her obtrusively outsized aluminum sculptures and the intimately scaled, mixed-media ceramic works for which she is beloved by this writer.
Eric N. Mack
Paula Cooper Gallery
534 W 21st Street
September 15—October 24, 2026
The most engaging pieces on view in Eric N. Mack’s second solo exhibition at this gallery eschew rectilinear supports in favor of an unfettered expansiveness capable of beguiling even the most cynical viewer.
Paula Cooper Gallery
534 W 21st Street
September 15—October 24, 2026
The most engaging pieces on view in Eric N. Mack’s second solo exhibition at this gallery eschew rectilinear supports in favor of an unfettered expansiveness capable of beguiling even the most cynical viewer.
Brice Marden
Gagosian
522 W 21st Street
September 15—December 12, 2026
The late painter’s sprawling survey unfurls amid a gallery rendered impervious to the inflections of natural light, thereby inducing a hermetic, casino-like effect that at once severs my connection to the exterior world and suspends my sense of elapsed time.
Gagosian
522 W 21st Street
September 15—December 12, 2026
The late painter’s sprawling survey unfurls amid a gallery rendered impervious to the inflections of natural light, thereby inducing a hermetic, casino-like effect that at once severs my connection to the exterior world and suspends my sense of elapsed time.
Roy Dowell
Miles McEnery Gallery
520 W 21st Street
September 10—December 31, 2026
It is tempting for me to dismiss Roy Dowell’s recent paintings, with their idiosyncratic compositional strategies wrought upon diminutive panels of standard, unvarying size, as being too deferential to those of Thomas Nozkowski (that lionized, protean abstractionist whose small works possess large scale); but, Dowell’s use of symmetry—or often approximated symmetry—thankfully places his images in a domain unto themselves.
Miles McEnery Gallery
520 W 21st Street
September 10—December 31, 2026
It is tempting for me to dismiss Roy Dowell’s recent paintings, with their idiosyncratic compositional strategies wrought upon diminutive panels of standard, unvarying size, as being too deferential to those of Thomas Nozkowski (that lionized, protean abstractionist whose small works possess large scale); but, Dowell’s use of symmetry—or often approximated symmetry—thankfully places his images in a domain unto themselves.
© 2026 Andy Martinelli Clark