Exquisitely detailed and painstakingly produced, Victoria Gitman's paintings of embellished accessories and Old Master portraits of women explore the constraints and conventions of beauty.
EJ Hill turns from endurance-based performances to pretty flower paintings in this solo show, with mixed results.
Arranging strips of film into quilt-like compositions, Sabrina Gschwandtner revitalizes the work of forgotten women filmmakers.
Through five new paintings weaving together familiar symbols, Theodora Allen creates a contemplative space suggesting a higher order amid the chaos of life.
The exhibition focused on the concerns of women across the globe, with sometimes contrasting approaches to feminism.
With technical finesse and painterly interludes, Kristin Calabrese transforms everyday scenes and enlarged objects into portraits of psychological states.
Rosha Yaghmai's "Afterimages" evoke the optical effects of California's Light and Space movement, while emphasizing the lived impact of time and migration.
Eva Beresin's fable-like tableau of humans and animals infuses a simple gesture with a sense of urgency and allegory.
At REDCAT, Aria Dean's animated video installation extends her work with kudzu vines as a metaphor for Blackness, and weaves in theories of infinity.
Talia Chetrit's photographs of intimacy, domesticity, and sexuality take on a new resonance, and suggest different stakes, during quarantine.