Among other distinctions, Spring Break is the only Armory Week fair to spill over to Monday, which fits its image of youthful overreach. It is the most anarchic and exuberant of the fairs: each room of these administrative offices of the USPS (the space has a David Lynch-like quality, a time-capsule of New Deal-era bureaucracy) has its own curator. Myla Dalbesio, for instance, orchestrated a suite of rooms into “you can call me baby,” with various post-feminist takes on the overarching theme of the fair, “cut and paste.” Erin Riley’s  (2015), for instance, appropriates a moment of girl-on-girl porn frozen on an iPhone. A postmodern gesture if ever, except that if you look at old tapestries there’s often fun and naughtiness going on there, too.

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“Ronnie Landfield: Five Decades” is a show that includes the retrospective aspect to which it title alludes in one room and a display of new works, in the other, made since the artist moved upstate following the disastrous flood that claimed his downtown Manhattan studio of as many decades and damaged his archives. Any transition between the restored or spared earlier canvases and his fresh new efforts is seamless to this viewer’s eye. As I wrote of his show  at Stephen Haller Gallery (before the merger of Stux and Haller) in 2011, submitting to an urge to pun on his surname, “here is a painter who reinvigorates the tradition of post-painterly New York School abstraction by making explicit what were –despite partisanship for non-objectivity, or at least non-representation, at its historical outset – irrepressible references and sly allusions to landscape. Landfield puts the field back into Color Field Painting.”

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