
Batman Returns: Joyce Pensato introduces color and studio detritus at Friedrich Petzel
Here show will be discussed by The Review Panel, February 24

The Curtain Man: Harry Roseman at Nancy Margolis
His installation, titled “Enfold”, is up through January 14

Greg Drasler at Betty Cuningham
“packed like luggage, appointed like rooms and driven like automobiles.”

Last Chance: Soundings (Elizabeth Hazan, Jennifer Riley) at Janet Kurnatowski
Intense painterly dialogue in a recent Greenpoint show
![Diana Al-Hadid, Trace of a Fictional Third, 2011 [detail]. Steel, polymer gypsum, wood, fiberglass and paint, 120 x 240 x 156 inches. Courtesy Marianne Boesky Gallery, New York © Diana Al-Hadid. Photo: Jason Wyche Diana Al-Hadid, Trace of a Fictional Third, 2011 [detail]. Steel, polymer gypsum, wood, fiberglass and paint, 120 x 240 x 156 inches. Courtesy Marianne Boesky Gallery, New York © Diana Al-Hadid. Photo: Jason Wyche](http://artcritical.com/wp-content/uploads/2011/08/DAD-detail-71x71.jpg)
Ghost in the Machine: Diana Al-Hadid in Lost Paradise at Marianne Boesky
Part of a group show earlier this summer

Driven to Abstraction, A Group Show at Von Lintel Gallery
Closing reception Thursday evening (July 28, 5-8pm) as part of Chelsea Art Walk 2011

Jane Fine in MELT at the Tang
A striking work in the summer group show at Skidmore’s teaching museum, up through September 18

A Feast for the Eyes (and Mouth): Malado Baldwin at Nolita Open House, plus Hummus
A one day show offered short viewing hours but a long view of the paintings

The Mixologist: Peter Reginato at Heidi Cho
Peter Reginato’s gutsy, boisterous assemblages mate the mediums of sculpture and painting. It would simply be insufficient to describe the components of his collages in steel as colorful. Welded sculptural form becomes the unlikely support for what would anyway be a dense, involved composition were it contained within the politely conventional dimensions of a stretched…

Sleep Patterns: Laurie Frick in LA
at Edward Cella Art + Architecture through April 2.


