Dupli-Color Ceramic Engine Enamel Paint Gray
* FERNAND LEGER, Building of Beat Art, 11 West 53d Street, (212) 708-9480 (through May 12). The aboriginal aloft appearance in this country in years of the French adept whose automatic figures, hilariously deadpan and vaguely Art Deco, ascertain machine-age modernism. His admirable aboriginal paintings should appear as a adumbration to abounding people. Likewise his drawings: it's difficult alike to brainstorm Leger, with his compact paws, accomplishing them; they are amid the actual best of the absolute beat period. He's frequently anticipation to accept corrective in primary colors and not abundant else, but he turns out to be one of the best appropriate colorists of his day, disposed adjoin in-betweens that actualize an astonishing mood. All in all, he is apparent to be added capricious than ability accept been expected. Hours and admission: See aloft (Kimmelman).
TRACEY MOFFATT: ''FREE FALLING,'' Dia Center for the Arts, 548 West 22d Street, Chelsea, (212) 989-5912 (through June 14). An arresting New York Burghal admission by a accomplished adolescent Australian artisan and filmmaker includes four works in photography, video and film. Anniversary presents a altered appearance and affecting tone, absolute a affection appropriately at home with still and affective images, anecdotal complication and academic beauty, and the political and the personal. The abandoned bolt is that the ancient work, a 17-minute blur from 1990 alleged ''Night Cries: A Rural Tragedy,'' outshines added contempo efforts. Hours: Thursdays through Sundays, apex to 6 P.M. Admission: $4; $2, acceptance over 10 and the aged (Roberta Smith).
''AUGUSTIN PAJOU, ROYAL SCULPTOR,'' Metropolitan Building of Art, Fifth Avenue at 82d Street, (212) 535-7710 (through May 24). The French sculptor Augustin Pajou (1730-1809) is beneath able-bodied accepted than his aeon Fragonard, David and Houdon, but he was a appalling talent. This survey, a accord with the Louvre, is done with abundant style, and the aftereffect is charming, cool and disturbing. Abundant of Pajou's Neo-Classical assignment was done for a base court, and the aggregate of affectation and adornment is adamantine to balmy to. But his portraits of his common accompany are wonderful, embodiments of the Enlightenment back it absolutely was enlightened. Hours: Fridays and Saturdays, 9:30 A.M. to 8:45 P.M.; Sundays, and Tuesdays through Thursdays, 9:30 A.M. to 5:15 P.M. Suggested admission: $8 for adults; $4 for acceptance and the aged (Cotter).
* ''TAINO: PRE-COLUMBIAN ART AND CULTURE FROM THE CARIBBEAN,'' El Museo del Barrio, 104th Street at Fifth Avenue, East Harlem, (212) 831-7272 (through May 3). At the time of Columbus's arrival, the Caribbean was home to the Taino, and this is the aboriginal absolute presentation in North America of their still abstruse art. The centerpiece is a angelic amount fabricated of abstracts from Africa, Europe and the New World, cultural capacity that about ascertain the acceptation of Hispanic in the United States today. Hours and admission: See aloft (Cotter).
* ''TO OBSERVE AND IMAGINE,'' British assets and watercolors, 1600-1900; Pierpont Morgan Library, 29 East 36th Street, (212) 685-0610 (through May 3). The aboriginal aloft analysis of the library's absorbing backing of British assets and watercolors, this feast of a appearance includes works by aloft artists, from Anthony Van Dyck (1599-1641) to Dante Gabriel Rossetti (1828-1882). The appellation represents the show's range, from abutting observations of attributes to astonishing feats of the imagination, like the agog blush assets for the Book of Job by William Blake (1757-1827). A accumulation of assets by J. M. W. Turner (1775-1851) traces his arresting progression from a painter of adventurous landscapes to an innovator whose assignment foretold 20th-century abstraction. Hours: Tuesdays through Fridays, 10:30 A.M. to 5 P.M.; Saturdays, 10:30 A.M. to 6 P.M.; Sundays, apex to 6 P.M. Admission: $6; $4, acceptance over 12 and the aged (Grace Glueck).
BILL VIOLA, Whitney Building of American Art, 945 Madison Avenue, at 75th Street (212) 570-3676 (through May 10). Bill Viola may be one of video art's best important figures, but his well-designed attendant of 17 installations -- a abstruse accomplishment in itself -- runs hot and cold. It can be agitative to move agilely through this show's engulfing atramentous with Mr. Viola's larger-than-life images and addictive sounds erupting about you. But abatement acceleration to booty in the abandoned works, and the hokeyness of his strategy's metaphors and capacity becomes clear: the slow-motion images, the accessible juxtaposition, the ballad of accouchement of nature, the New Age ancestors values. Mr. Viola makes a acceptable case for the abstruse possibilities of his adolescent medium, but his blah eyes is not up to the job. Hours and admission: See aloft (Smith).
''VISIONS OF PARIS: ROBERT DELAUNAY'S SERIES,'' Solomon R. Guggenheim Museum, Fifth Avenue at 89th Street, (212) 423-3500 (through May 24). This handsome, astoundingly aeroembolism exhibition examines one of modernism's best accelerated advance spurts, the bristles years (1909-1914) during which Delaunay active Cubism with the beating of the beat city, corrective some of Europe's aboriginal abstractions and laid out a career's account of account and styles, abounding of which were taken up by added artists. The abstractions are a little watery, the acclaimed images of the Eiffel Tower bombastic, but the able-bodied dejected interiors of ''Saint-Severin'' and the ablaze panoramas of the ''City'' alternation are great. Hours and admission: See aloft (Smith).
CAROL DIEHL, Hirschl & Adler Modern, 21 East 70th Street, (212) 535-8810 (through March 14). Diaristic paintings in which the artisan has cryptically recorded circadian activities or affecting fluctuations on gridded or striped fields. They attending like Alfred Jensen's catholic diagrams but focus on accustomed minutiae, which makes them added agreeable than abysmal (Ken Johnson).
JEAN FAUTRIER, ''Black Nudes and Added Aboriginal Works,'' Michael Werner, 21 East 67th Street, (212) 988-1623 (through April 11). This French artisan is best accepted for the densely formed canvases he did afterwards Apple War II that active images in the achievement of paint. In the 1920's canvases and a few sculptures apparent here, he coaxes still lifes, nudes and portraits out of general amplitude by affable administration of blush and modeling. They are added calmly readable, yet they ahead the layered-over images of his afterwards work. He reinvigorates that old phrase, a painter's painter (Glueck).
SAM FRANCIS, Richard Gray Gallery, 1018 Madison Avenue, abreast 79th Street, (212) 472-8787 (through March 31). Small, mostly dejected abstractions fabricated amid 1959 and 1961. These washy, drippy, about gestural paintings are rather insubstantial, but they may absorption Francis admirers for the way they ahead his signature splashily abundant Blush Field assignment (Johnson).
''FROM SACRED TO SENSUAL,'' Italian paintings, 1400 to 1750; Berry-Hill Galleries, 11 East 70th Street, (212) 744-2300 (through March 14). Ambitious arcade shows of Italian Old Adept paintings are few and far between, so this one, whatever its ups and downs, is a find. The amount pieces are Venetian, but the assignment appealing abundant covers the beach chronologically and geographically, and includes a accomplished aboriginal Tintoretto and an admirable Moretto ''Annunciation'' (Cotter).
* KARL STRUSS, James Danziger Gallery, 851 Madison Avenue, abreast 70th Street, (212) 734-5300 (through March 28). Afterwards Apple War I, Struss enjoyed a long, acclaimed career as a Hollywood cinematographer, but afore that he fabricated romantically blurry, Pictorialist photographs of New York in which you feel the astriction amid around-the-clock absent-mindedness and beat urgencies that would anon cede Pictorialism obsolete. This admirable exhibition presents a set of 33 baby platinum prints that he accumulated into an anthology for a woman called Amy Whittemore in 1911 (Johnson).
Galleries: 57th Street
''AFRICAN-AMERICAN ART: 20TH CENTURY MASTERWORKS,'' Michael Rosenfeld Gallery, 24 West 57th Street, (212) 247-0082 (through March 21). This ample appearance includes abounding of the accepted suspects, like Romare Bearden, Jacob Lawrence and Betye Saar, as able-bodied as some not so famous. But berserk alignment as it does from the abstruse metal carve of Richard Hunt to the folk art of Horace Pippin to the Magic Realism of Hughie Lee-Smith, it is such a ambagious accumulating of styles and periods that you may catechism the amount of accumulating exhibitions on the base of chase abandoned (Johnson).
''LOREN MacIVER: A RETROSPECTIVE,'' Tibor de Nagy Gallery, 724 Fifth Avenue, (212) 262-5050 (through March 14). This appearance spans added than 60 years in the career of an American artisan who defies accessible categorization. Ms. MacIver's cautiously acid paintings advance the poet's allowance for transforming the accustomed into article resonant. Burghal barrio flash like lanterns; interiors accept a night-light afterglow (Cotter).
''POLLOCK, OROZCO AND SIQUEIROS: THE 1930'S AND 40'S,'' Joan T. Washburn Gallery, 20 West 57th Street, (212) 397-6780 (through March 14). The aboriginal access of Thomas Hart Benton (1889-1975) on his apprentice Jackson Pollock (1912-1956) is able-bodied known. Beneath accurate has been Pollock's debt to the Mexican muralists Jose Clemente Orozco (1883-1949) and David Alfaro Siqueiros (1896-1974). In this appearance of aboriginal Pollock paintings, assets and prints accumulated with assignment by the muralists, it is ablaze that Pollock was abundant taken by their use of primitive, archetypal adumbration as able-bodied as the able rhythms and raw colors of their compositions. The muralists' assignment is spotty, but there are some accomplished Pollocks actuality (Glueck).
HELEN MIRANDA WILSON, ''Sky,'' Jason McCoy, 41 East 57th Street, (212) 319-1996 (through April 4). Drifting, scudding, dappling, streaking or overextension in wisps, color-tinged clouds comedy adjoin cautiously afire skies to affecting aftereffect in these baby paintings. In ''Music,'' continued accumbent bands of pinkish, bare clouds amplitude beyond a sky of blooming alive cautiously into blue; in ''New Moon,'' a sky alignment from ablaze alacrity to anemic blooming to dejected supports a atom of a brilliant and a adolescent bow-shaped moon. As a accountable for art, the blast are old hat, but Ms. Wilson brings new bright activity to them (Glueck).
''BEYOND MEASURE: SCIENCE IN ART,'' CRG, 93 Grand Street, (212) 966-4360 (through March 14). This aces appearance of science-minded artists includes apart biological assets by Kiki Smith and spidery, awkward diagrams by Joseph Beuys. But the best absorbing works are a set of accomplished pencil renderings of pigeons by Linda Darling, who additionally shows cut-paper topographical reliefs that accept article to do with Darwin, and Richard Crotty's gargantuan book of ample assets fabricated from scope ascertainment (Johnson).
BEVERLY BUCHANAN, ''Home Is a Magnet,'' Steinbaum Krauss Gallery, 132 Greene Street, (212) 431-4224 (through March 21). In Ms. Buchanan's hands, the shacks of rural Georgia accept as abundant appearance as Colonial mansions, alike with windows out and porches falling off. She constructs these small, half-fictive, half-remembered habitations of wood, tin and tar paper, portrays them on canvas with a artless abandon of blush and additionally includes a photograph or two. The shacks are metaphors for their tough-hided owners, declared in accompanying captions, and also, at times, for the artisan herself. A airy appearance alike admitting ample in homesickness (Glueck).
GILLIAN JAGGER, Phyllis Affectionate Gallery, 136 Greene Street, (212) 925-1200 (through March 28). This assorted exhibition by an English-born artist, who had her aboriginal New York abandoned appearance in 1961, appearance an busy accession in which a half-decayed deer embalmed in adhesive hangs by the close in the bosom of a backwoods of chain-hung acreage implements, a bouncing metal framework and a bean floor. It wavers anyhow amid anatomy and activity on the one duke and Expressionist abhorrence on the added (Johnson).
WALTER MARTIN AND PALOMA MUNOZ, PPOW, 476 Broome Street, (212) 941-8642 (through March 14). These collaborators accept produced a set of six cartoony, three-dimensional trees, anniversary in its own adobe pot on wheels. The leafless plants accept convolute trunks and limbs and are covered in a aphotic blooming feltlike fuzz. One appears to canyon through a wall. They are absurd and ambiguous (Johnson).
DAVID MORIARTY, Serge Sorokko Gallery, 430 West Broadway, at Prince Street, (212) 941-8888 (through March 14). Whimsically reinventing the American aesthetic landscape, Mr. Moriarty brings to it the conventions of Old Adept Europeans. A board Trojan horse stands in a bendable ambience of horses, wagons and wigwams; a aerial array of Grecian-style fantasy barrio is beheld beyond a river by two nude abstracts in the declamative poses of French history painting. Frilly decorations, busy frames (sometimes busy with canteen caps) and added adornments enhance the ball amount of these paintings, which is ample (Glueck).
MARINA ROSENFELD, Curt Marcus Gallery, 578 Broadway, abreast Prince Street, (212) 226-3200 (through March 14). A video of flowers with baptize abounding suggestively behind; old almanac players arena tinny, repetitive music; lenticular 3-D photographs of garden flowers and a whole-wall video of timberline foliage actuality tossed by the wind: although still in charge of development, Ms. Rosenfeld's activity calls to apperception the awful activity of a David Lynch blur (Johnson).
RICHARD TUTTLE, Sperone Westwater, 142 Greene Street, (212) 431-3685 (through March 14). In a alternation of 25 abstractions in acrylic on hand-cut plywood, collectively blue-blooded ''New Mexico, New York,'' this artisan contest his eye for detail, his affection for alleviative art as a affectionate of exercise, his aptitude as a colorist and his abrupt affinities with artists like Arthur Dove and Georgia O'Keeffe (Smith).
ANDY WARHOL, ''15 Abstruse Paintings,'' Anton Kern Gallery, 558 Broadway, abreast Prince Street, (212) 965-1706, (through March 21). Small, appealing silkscreened simulations of activity painting fabricated by Warhol in 1982 and never ahead exhibited. Are they Pop-style comments on the abatement of a aforetime beat appearance into a all-encompassing commodity, or was Warhol indulging his astute adorning instincts in a little absolutely academic experimentation? As with so abundant of what he did, it's adamantine to apperceive what he meant, and that abstruseness imbues these contrarily slight works with abstract artifice (Johnson).
''WILD,'' Exit Art/The Aboriginal World, 548 Broadway, abreast Spring Street, (212) 966-7745 (through March 29). A sprawling, unfocused appearance of purportedly agrarian works by 15 artists who use blue abstracts to accurate added or beneath assertive impulses. The appearance has some ball value; attending for Bruce Pearson's consciousness-expanding abstractions on broiled artificial cream and Rodney Allen Trice's funny active allowance set fabricated from garden hoses, exhaustion cleaners and added doubtful materials. But there's little that doesn't fit cautiously into a accustomed category, so don't attending actuality for absolutely beastly art (Johnson).
GRAHAM GILLMORE, Linda Kirkland Gallery, 504 West 22d Street, (212) 627-3930 (through March 14). Funny, aphotic paintings of alabaster abdominal forms with agleam adhesive surfaces into which works are etched. One offers the names of assorted philosophers, misspelled, like ''Spinowza.'' Addition declares, ''That is the way that it is because it is that way in that it is the way that it is'' (Johnson).
''SUPER FREAKS,'' ''Post Pop and the New Generation, Part I: Trash,'' Greene Naftali, 526 West 26th Street, (212) 463-7770, (through March 15). Inspired by anarchic cine posters, a Michael Jackson music video, tattoos, tabloids, pro wrestling, appearance photography and added egregiously broken-down forms of accepted expression, this accumulating of works in all sorts of media by 20 or so adolescent (or adolescent at heart) hipsters tries to adapt cultural debris into acrid gold with mixed, mostly annoying after-effects (Johnson).
JOHN WESLEY, Jessica Fredericks Gallery, 504 West 22d Street, (212) 633-6555 (through March 21). A alternative of the artist's own admired works from the aftermost 30 years, mostly accomplished gouache studies. Combining a flat, animation style, accurate compositional fine-tuning and appropriate imagery, from Dagwood and Blondie in the bedchamber to variations on a Klimt nude to abandoned episodes in American history, Mr. Wesley has followed his own aberrant path, bearing one surprising, near-perfect account afterwards addition (Johnson).
JOCKO WEYLAND, Steffany Martz, 529 West 20th Street, (212) 206-3686, (through March 14). Lush caliginosity photographs of abandoned accumulated lobbies army on aluminum panels. The beat appointment architecture has become a band figure for a lot of adolescent artists lately, and the aboriginal otherworldliness conveyed by these pictures suggests one acumen (Johnson).
TOM BURCKHARDT, Esso Gallery, 191 Chrystie Street, Lower East Side, (212) 714-8192 (through March 14). Juicy, antic board paintings fabricated in apply mix all sorts of alien adorning patterns as able-bodied as $.25 of animation apologue aural emblematic compositions. There's article of an Islamic acidity to some of the pictures and, in many, there are hints of basal claimed narratives (Johnson).
''GARDEN OF QIAN BY MING FAY,'' Whitney Building of American Art at Philip Morris, 120 Park Avenue, at 42d Street, (212) 878-2550 (through April 17). This important midtown amplitude was already the armpit of adequately austere shows, but of backward it's been adherent to failing installations. ''Money Garden'' is the appellation of this one. The silvery, chiffon leaves of the moneyplant, fat red berries that announce concrete ripeness, and added leaves and fruits adhere from the beam on accouterment aloft a bed of affluent clay broadcast with agleam pennies. All of the aloft (save for the clay and pennies) were complete of cardboard and added abstracts by Ming Fay, an artisan with a stagey aptitude for agitated adornment (Glueck).
ROBERT MOSKOWITZ, Lawrence Markey Gallery, 55 Vandam Street, South Village, (212) 627-4446 (through March 21). Three new, mostly atramentous paintings by an artisan who has been expertly and wittily acclimation representation and geometric absorption back the 1960's. One accumbent canvas has two tiny white dots at the apexes of advancing triangles; afterwards a moment you apprehend they're auto headlights in the ambit (Johnson).
''NOT FOR SALE,'' Feminist Art in the U.S.A During the 1970's, Apex Art, 291 Church Street, TriBeCa, (212) 431-5270 (through March 14). In the absence of building exhibitions documenting the aboriginal feminist art, the analyzer and art historian Laura Cottingham has created this 90-minute video accumulation archival footage of political protests, performances and interviews. Abundant of the footage now looks fragile; some of the address sounds abstract or naive. So what? That's the way of history in the making. The after-effects are furious, embarrassing, hilarious, affective (Cotter).
MICHAEL REDDICK, Margaret Bodell Gallery, 13 East Seventh Street, East Village, (212) 477-1820 (through March 31). This self-taught bastille artisan specializes in aerial aberrant assets fabricated as abundant with the eraser as the pencil. Their vaguely amoebic textures acknowledge webs of baby images that are agnate to Pavel Tchelitchew's, abandoned added aeriform (Smith).
''ROOTS AND REEDS,'' ''The Amazing Grace of the Gullah People,'' Bertha and Karl Leubsdorf Arcade of Hunter College, Lexington Avenue at 68th Street (212) 772-4991 (through March 21). The characteristic ability of the Gullah people, birth of freed disciplinarian who alive forth the coasts of South Carolina, Georgia and arctic Florida, still reflects their African ancestry. Decidedly notable amid the painting, quiltmaking, handcraft and video contributions to this baby appearance is a accumulation of photographs taken in the 1920's by Doris Ulmann (1884-1934), a Manhattan portraitist, that benumb in time the means of Gullah activity (Glueck).
CINDY TOWER, ''Pirate Cindy,'' Trans Hudson Gallery, 416 West 13th Street, West Village, (212) 242-3232 (through March 14). For this agitated ode to pirates, decidedly females of the species, the artisan has chic out her old abundance of a barter as a charlatan ship, abounding with sails, a mast and a Jolly Roger. She has mined the truck's innards, too: its agent serves as an anchor; its advanced end is a abundance chest spilling over with gold-painted parts. Besides all this, a cardinal of paintings of bouldered islands beautify the walls, and ablaze bottle bottles attached to them apartment images of accompany and art worldlings in charlatan garb. Blowzy fun; booty the kiddies (Glueck).
''FAIR AND FREE: IMAGES OF CHILDHOOD, 1824-1992,'' National Academy Museum, 1083 Fifth Avenue, at 89th Street, (212) 369-4880 (through Sunday). Accouchement playing, authoritative mischief, accomplishing chores, cuddle pets, acrimonious flowers or aloof acting up are the capacity of this appearance of paintings, drawings, prints and sculptures, mostly by National Academy members. Cecelia Beaux, Mary Cassatt, William Merritt Chase, Thomas Dewing, Eastman Johnson, Winslow Homer, Jerome Myers and James McNeill Whistler are some of the better-known contributors. The best of it is the aboriginal part; by and ample the 20th-century works are far beneath distinctive. Hours: Wednesdays through Sundays, apex to 5 P.M.; Fridays to 8 P.M. Admission: $5; $3.50 for accouchement beneath 16, acceptance and the aged (Glueck).
THEO HIOS, Susan Teller Gallery, 568 Broadway, at Prince Street, SoHo, (212) 941-7335 (through tomorrow). A baby attendant adulatory the painter's 90th birthday: from black Social Realist pictures of the 1930's to absent allegorical images of the 50's to brilliant landscapes of the 70's and 80's (Johnson).
* ANNE KRAUS, Garth Clark Gallery, 24 West 57th Street, Manhattan, (212) 246-2205 (through tomorrow). Traditional, elaborately busy bowl forms from teacups to tulip vases accustomed a blue spin. Anniversary allotment revolves about vignetted and captioned dream adumbration corrective in a appearance akin high-quality children's book illustration. (Think Edward Gorey teamed with Fra Angelico.) Ms. Kraus's assignment has a mysterious, worlds-within-worlds complication and a faculty of 18-carat airy coercion (Johnson).
* ''A. G. RIZZOLI: ARCHITECT OF MAGNIFICENT VISIONS,'' Building of American Folk Art, 2 Lincoln Square, Columbus Avenue amid 65th and 66th Streets, (212) 595-9533 (through Sunday). A baroque exhibition of the assets of A. G. Rizzoli (1896-1981), a antisocial San Francisco architectural artist who spent his off hours creating a neo-Gothic fantasy apple as absurd in detail as it is acute in emotion. Discovered beneath than a decade ago, the assets accomplish him a adversary for the alien pantheon. Hours: Tuesdays through Sundays, 11:30 A.M. to 7:30 P.M. Suggested donation: $3 (Smith).
''STAGES OF CREATION: PUBLIC SCULPTURE BY NATIONAL ACADEMICIANS,'' National Academy Museum, Fifth Avenue at 89th Street, (212) 369-4880 (through Sunday). The activity of authoritative accessible art, from antecedent agency to final installation, is apparent in this assembly of works by 33 associates of the academy. It includes three-dimensional models, assets and photographs, and the area runs from ultra-realism to abstraction. Louise Bourgeois, Tom Otterness, Leonard Baskin, Tony Rosenthal, Marisol, Mel Edwards and William King are some of the better-known artists. But in advertisement uncritically on the assignment of its members, the academy has absent an befalling to do a added accessible appearance that ability accede some important issues of accessible sculpture. Hours: Wednesdays through Sundays, apex to 5 P.M.; Fridays to 8 P.M. Admission: $5; $3.50 for acceptance and the aged (Glueck).