Grace and elegance abound in Kambui Olujimi’s paintings on the phenomenon of the dance marathon, but so too do rugged drama and discomfort.

The lots at the cemetery’s perimeter are marginal sites for people who, very likely, were marginalized during their lives.

Nina Katchadourian's Uncommon Denominator is one of the most unusual and engrossing shows that I’ve encountered in years.

I don’t know you like that: The Bodywork of Hospitality goes well beyond the conventional meaning of “hospitality” as generosity and conviviality.

Coursing through Velvet Terrorism is graphic evidence of how these spirited women have been constantly attacked by the patriarchy.

Things have their own power and agency in the artist’s installation and humans are part of a complex world of life forms and materials.

With their sophisticated interplay between image, text, materials, color and driving ideas, Lum’s works often have a pronounced emotional impact.

Encountering Pierre's dynamic, intensely colorful oil paintings, sculptures, and works on paper is like entering a spiritually charged, alternate world.

An exhibition at Paula Cooper Gallery underscores not only how engaging and innovative, but also influential and visionary Adkins really was, and remains.

Birgir Andrésson was steeped in Iceland's ways and lore, landscape and history. It was also his complex subject and an energizing force.

Jónsi hasn’t just utilized natural materials but has, one senses, collaborated with them, allowing them their own innate power.

While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.

Many of the works in Iðavöllur are big and chock-full of issues and socially engaged ideas, like so much art elsewhere.

The Icelandic artist fashions sculptures and wall works from the primary substance of her volcanic and volatile homeland.

There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.

Pensato favored pop culture flotsam marred by the real world, which she transmuted into adventurous artworks dealing with raw, real world concerns.

It’s hard to imagine how three minutes of Mozart’s Marriage of Figaro repeated for 12 hours can be so riveting.

Fred Tomaselli’s incorporation of printed news in his paintings long before the pandemic now seems downright prescient.

Fear — so pervasive these days — has long been an important theme for Neuenschwander.

This thoughtfully curated exhibition is evidence that much compelling and adventurous art is indeed being produced all around the country.

With their exhibition, Look, it’s daybreak, dear, time to sing, Richard Ibghy and Marilou Lemmens investigate the complex, cross-species relationship between birds and humans.

It is not surprising that a music star would have an exhibition at an art gallery. What is surprising is how compelling and meaningful this show, by Sigur Rós frontman Jónsi, really is.

Josiah McElheny's glass vessels concentrate the ethereal and boundless into the finite and physical.

The artist’s Death Is Elsewhere conveys an understanding that humans — relatively recent additions to a 4.5-billion-year-old planet — will come and go. The planet will remain.

The Biennale’s system of national pavilions may be an outdated relic, but it does succeed in putting a spotlight on countries that typically receive scant art world attention.

Katchadourian excels at investing commonplace, inanimate objects with vitality and soulfulness.

Ward doesn’t just utilize found objects; he communicates with them — intellectually, visually, soulfully.

For Hafif, painting was a meditative act, a clarifying ritual.

Simone Leigh’s chief subject is, in her own terms, “black female subjectivity,” hardly a predominant theme in an art world that has skewed way white and male since its inception.

Kusama’s installation connects with a broad reach of Rockaway's history, as well as the impact of climate change on the area.

Strapped into a harness beneath Saraceno’s inflated sculpture, we are carried aloft, peaceful and ecstatic, merging with the air.

Karin Sander’s Kitchen Pieces draw your attention to the rhythmic ridges of an acorn squash, the bumpy peel of an orange, and the spiky surface of a yellow dragon fruit.

Moyer’s new paintings revel in color and visual pleasure, scrambling distinctions between abstraction and representation.

I remember David Zwirner Gallery back in the 1990s, before Chelsea, when the New York art world was much smaller and more manageable.

In Ellen Harvey’s Nostalgia, the spiritual and the secular converge into a beatific, nature-based sublime.

Diana Al-Hadid is a cherished former student who is moving beyond talent into something much deeper and riskier, what Emerson called “the science of the real.”

Tom Burckhardt’s “STUDIO FLOOD” is a tour de force artwork with a willfully scruffy, DIY look.

Phish connects with a visionary tradition in America reaching back to the expansive Walt Whitman and the soulful Ralph Waldo Emerson.

Ayse Erkmen’s water bridge across Münster’s harbor is a singular mesh of sculpture, performance art, Land Art, and perhaps painting, too.

If I could, I would give this layered, richly human (and often tear-inducing) work my own private Golden Lion, inventing a new category: Best and Most Meaningful Work in the Exhibition.

Gallace’s gorgeous paintings tap into a pervasive national anxiety, an ill-defined feeling of threat coupled with a nagging sense that a bright promise is faltering and may be already gone.