The experience in this richly diverse exhibition is not of transition so much as consolidation: the new works, whether big loopy abstractions in fat confident brushstrokes or weirdo figuration, seem legitimate outgrowths of the precious, tight, miniaturist Siena of old.

Silvia Bächli at Peter Freeman, Inc., Michal Rovner at PaceWildenstein, Catherine Sullivan at Metro Pictures, Jeff Wall at Marian Goodman Gallery, and Dan Walsh at Paula Cooper Gallery

Kathy Butterly at Tibor de Nagy, Tim Hawkinson at PaceWildenstein and Nyehaus, Julianne Swartz at Josee Bienvenu, Dana Schutz at Zach Feuer, and Rebecca Warren at Matthew Marks

ROBERT MANGOLD: COLUMN STRUCTURE PAINTINGS PaceWildenstein until March 10 (545 W22nd Street between 10 and 11 Avenues, 212 989 4263) MARK GROTJAHN; BLUE PAINTINTS LIGHT TO DARK ONE THROUGH TEN Anton Kern until February 28 (532 W20th Street between 10 and 11 Avenues, 212 367 9663) JOE FYFE James Graham until March 10 (1014 Madison … Continued

We think there is a clue in Oursler’s work that provides us with a deeper insight into the nature of the relationship involved in the Albers-Judd pairings. This is a rather surprising state of affairs given that Oursler’s grotesque sculptures are hardly known for their imaginative use of color.

Gillian Carnegie at Andrea Rosen, Lisa Hoke at Elizabeth Harris, Josiah McElheny at Museum of Modern Art, Philip Taaffe at Gagaosian and Corban Walker at PaceWildenstein

John Currin at Gagosian, Lucian Freud at Acquavella, Maureen Gallace at 303, Marilyn Minter at 94 and Fiona Rae at PaceWildenstein

FIONA RAE: YOU ARE THE YOUNG AND THE HOPELESS PaceWildenstein until December 2, 2006 545 West 22 Street between 10 and 11 Avenues, 212 989 4263 CALLUM INNES Sean Kelly until December 8 528 West 29 Street between 10 and 11 Avenues, 212 239 1181 A version of this article first appeared in the New … Continued

Burckhardt’s latest show is at Pierogi in Williamsburg through May 8

A fascination with prehistory links Mr. Heizer’s Stonehenge-like “City” to these sculptural objects, though his architectural forms are fastidiously hard-edged in comparison with the flint-facetted tools. But for all his insistence on freeing himself from European precedents, to explore instead an American sense of wide open space and anti-individual scale, Mr. Heizer’s prehistoric sensibility has a long modernist precedent with deep roots in European culture.