Dana Schutz at Petzel, September 10 through October 3The painter follows up 2012’s “Piano in the Rain” exhibition at the gallery with a suite of new paintings (and perhaps some charcoal drawings) that depict men in the shower, mutant babies with enlarged testicles, and Swiss families hanging out in the airport. The show also includes a hypercharged canvas that captures a brawl in an elevator, as well as a mostly abstract painting meant to convey the trials and tribulations of breastfeeding — Schutz recently had her first son, so it’s no surprise that motherhood has found its way into the work. “The Xerox Book” at Paula Cooper Gallery, September 12 through October 24A sort of IRL exhibition-companion to the famed, eponymous 1968 publishing project helmed by Seth Siegelaub (you can download the entire thing as a PDF here via Primary Information), this show spotlights works from the heavy-hitting Boy’s Club of Conceptualism: Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, Lawrence Weiner, and Carl Andre.“Carl Andre In His Time” at Mnuchin Gallery, September 9 through December 5The tony Upper East Side gallery should provide a refined backdrop for this suite of 1960s works by Andre (who turns 80 in September). Iconic metal floor-pieces and free-standing sculptures are paired with complementary works by peers like Agnes Martin — a woman! — John Chamberlain, Donald Judd, Robert Mangold, Brice Marden, and others.Rachel Whiteread at Luhring Augustine in Bushwick, September 19 through December 20The British sculptor, known for her negative casts of everything from buildings to bathtubs, takes over the gallery’s Brooklyn space in advance of a November solo exhibition of new resin-based sculptures at their Chelsea location. In Bushwick she’ll show older works on paper alongside the massive 2012 concrete-and-steel piece “Detached III.”Isa Genzken & Wolfgang Tillmans at David Zwirner Gallery, September 16 through October 31 & September 16 through October 24 It’s a very German fall at Zwirner. Tillmans promises his signature mix of esoteric subjects and unconventional hangings; Genzken will show mixed-media abstract works — like the four-panel “Briefmarke 1,” composed entirely of various foils, tapes, and paper on metal panels — as well as a series of irreverently abused mannequins.Adrian Villar Rojas at Marian Goodman Gallery, September 9 through October 10This young Argentinian artist is everywhere right now — including biennials in Istanbul, Sharjah, and Havana — so his debut solo with the gallery in New York should be closely watched.Katherine Bernhardt at Venus Over Manhattan, September 9 through October 24The painter presents new tropically inflected work inspired by an unofficial residency in Puerto Rico. (The exhibition title, “Pablo & Efrain,” is a nod to a pair of performance-artist twins from the island.) Expect to be overwhelmed by vibrant acrylic-and-spraypaint canvases of hammerhead sharks, sea turtles, and sumptuous fruits.Sue de Beer at Boesky East, September 9 through October 25The artist will show a new two-channel film, “The Blue Lenses,” partially the product of a teaching stint at NYU’s Abu Dhabi campus; as de Beer explained to Juliet Helmke in this month’s Modern Painters, she intended to make a “Daphne du Maurier-inspired noir set in a fictional version of the Middle East.”Nari Ward at Lehmann Maupin, September 9 through November 7While he’s known for going big and bold with politically charged sculptures, Ward’s upcoming show at the gallery, titled “Breathing Directions,” seems like it might be a more materially subtle affair, though just as loaded: It includes a series of copper works that reference the history of the Underground Railroad.ANNE NEUKAMP and Zachary Leener at Lisa Cooley Gallery, opening September 12A pairing that’s all about strange, sensual, and mechanical shapes. Leener makes bulbous ceramics glazed in cool-candy colors; for this show, his gallerist says he’s changing up his palette and amping up his scale (and also experimenting with small electrical lights). Neukamp — a pro at making the commonplace formally interesting — will contribute a series of large-scale paintings of “ropes, keys, hands, phones, and other icons, often doubled or mirrored.”Robert Overby at Andrew Kreps Gallery, September 10 through October 31Alessandro Rabottini curates a selection of works, mostly from the 1970s, that showcases a series of paintings and lithographs and underlines Overby’s facility for materially eulogizing common architectural features — doors, a room’s corner, the rectangle of a loft window — in latex, resin, fiberglass, and canvas.MARK GROTJAHN at Anton Kern Gallery, September 10 through October 30Hey, Grotjahn hasn’t been spending all his time trying to deftly kick beach balls for the enjoyment of his Instagram followers — he’s been making new work! That said, maybe you can challenge him to an intramural game after the opening. Agathe Snow at Albertz Benda, September 10 through 26Snow is best known for funky-junky mixed-media sculptures and paintings ripe with baubles (one 2012 work proudly notes “cast soft-latex tits” as a component). But the artist opens the project space of this new Chelsea venture with a “Coyote Ugly,” an immersive installation thematized around illegal immigration; there’s an interactive and theatrical component as well, with a series of performances on September 12, 16, 19, and 23. (The gallery is also showing photographic works from 1968-78 by Bill Beckley, through October 3.)“The Avant-Garde Won’t Give Up: Cobra and Its Legacy” at Blum & Poe, September 9 through October 17This is the East Coast leg of this two-part show curated by Alison Gingeras — the second installment opens at the gallery’s Los Angeles outpost in November. It examines the Copenhagen-, Brussels-, and Amsterdam-centered group’s activities in the 1940s (part II follows Cobra into the following decades). Press materials promise a fresh look at what the gallery terms “a layered and multi-tentacled avant-garde movement, spanning three decades and many more countries than just Denmark, Belgium, and the Netherlands.”McArthur Binion at Galerie Lelong, September 10 through October 17A stand-out at the Frank Sirmans-curated Prospect.3 in New Orleans, the Chicago-based artist presents dense, methodical abstract paintings whose backgrounds are composed of “copies of the artist’s birth certificate and pages from his address book,” among other personal effects.Chris Hood at Lyles & King, September 9 through October 11By painting on the back of linen and letting the pigments bleed through to the other side, Hood achieves a washed-out-but-still-saturated effect. Cartoon hearts and eyes abound; occasionally the works resemble Van Gogh landscapes as rendered by a crayon-wielding child savant, interrupted by downtrodden little humanoids who seem to have stumbled in from a Julie Wachtel painting.Robert Janitz at Team, September 10 through October 25While they may look blobby and amorphous, these paintings are actually quite figurative: Janitz has a thing for painting peoples’ heads from behind, using loose brushstrokes and a combination of oil and wax that makes his canvases appear almost glazed. They can seem casual, sometimes to a fault, but spend some time in their company at 83 Grand Street and you’ll likely be won over. (The gallery’s other space on Wooster Street is showing Gardar Eide Einarsson, whose show is titled “Freedom, Motherfucker. Do You Speak It?” I’m just going to assume it’s a love letter to Donald Trump.) Trevor Paglen at Metro Pictures, September 10 through October 24A proud bane of the N.S.A., Paglen makes conceptual art that attempts to visualize data systems that the government would rather we don’t know about — recently, he’s taken up scuba diving in an attempt to get even closer to the networks of power. (Check out this slick and pleasantly anxiety-inducing trailer for the exhibition.)Mike Kelley at Hauser & Wirth, September 10 through October 24The Chelsea space is showing the late artist’s “Kandor” works — glowing, resin-based sculptures of the fictional city on the planet of Krypton, from Superman lore — including “Exploded Fortress of Solitude,” which has never been seen in the States.Artie Vierkant at Feuer/Mesler and Mesler/Feuer, September 12 through October 17At 30 Orchard Street, Vierkant presents work from his “Image Objects” series (one of them is currently on view at City Hall Park in a show of the same name). Over at Grand Street, things are even more esoteric, per an early draft of the press release: The project looks at “intellectual property as a means of structuring and demarcating the immaterial world,” and involves the artist purchasing “an allotment of genetically modified soybean seed from a large multinational agrochemical and agriculture biotechnology corporation whose name, as of this writing, we haven’t fully decided whether we should disclose.”Martine Syms at Bridget Donahue, September 17 through November 1Syms, who bills herself as a “conceptual entrepreneur” and has written a manifesto about Afrofuturism, follows up her inclusion in the New Museum Triennial with a solo show titled “Vertical Elevated Oblique.” It includes a new film, as well as appropriated photographs, which interrogate race and physical gesture.Basilica Soundscape at Basilica Hudson, September 11 through 13If you feel like skipping the city’s opening-week madness in its entirety, you could always hop on the Metro North train to Hudson, where this multi-day music-and-art festival unfolds in a gorgeously expansive former factory building. Performers include Wolf Eyes, Perfume Genius, Haxan Cloak, Viet Cong, and Health; concurrent exhibitions include a solo from Dan Colen (with work created at the venue itself), and a group show cheekily dubbed “The Now Forever,” which includes Harmony Korine, Haley Mellin, Suzanne McClelland, and others.
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