Lari Pittman’s epic paintings have always been like big Broadway numbers—but in his latest show, the only big number was seventeen. That’s how many works he fitted into a gallery space he used to fill with just one. All measuring less than three by four feet, these paintings on heavy paper feel like studies, though they possess all the precision and finish of Pittman’s large panels and bear all his trademarks: radical scale shifts, mixed and matched styles, jumbled, discontinuous spaces, a multihued but rarely blended palette, a grab bag of techniques and media (acrylic, alkyd, spray enamel,

Taco Stand; Shelf; Amt für Außen Dienst (Office for external affairs): The titles of Alice Könitz’s new pieces, case studies for the relation between exterior and interior space, proclaim an interest in architectural structures and units while wittily suggesting that sculpture, whose materiality also structures and problematizes such spatial dynamics, is an external affair as much as anything else, with its own politics and economy.

Taco Stand, 2000, stands in strange, funky relation to any actual taco stand: An orange Styrofoam cooler decorated with amoebic forms made of blue paper rests on