From 1960 to 1971, Lee Bontecou showed consistently at Leo Castelli Gallery in New York, where her large-scale wall reliefs were admired by critics and collectors alike. During this period, she also had several European museum shows and was included in Documenta 3. And she was often photographed, most famously by Ugo Mulas and Hans Namuth, but also by Diane Arbus. Despite these and other sanctions, by the ’70s Bontecou decided, for reasons that are not entirely known, to stop exhibiting her work. She left Castelli, moved out of New York City, and, it turns out, kept right on working. So the

Tiepolo’s oval-shape Apotheosis of Admiral Vettor Pisani, ca. 1743, depicts our Italian military hero being introduced by Venus to Jupiter and Mars; all float together amid auroral light, puffy clouds, and cute putti. Two of Kehinde Wiley’s most recent paintings, Apotheosis of Admiral Vettor Pisani #1 and #2 (all works 2003), center a handsome lone black dude in a field of color against a pattern at once heraldic, Islamic, and Gucci-esque. Vettor Pisani #1 mugs in a white T-shirt and baggy jeans against a vibrant red ground with turquoise fleurs-de-lis while six blush roses make a sort of arch;

In her inaugural exhibition at this thoroughly expanded gallery, Sharon Lockhart presented a group of distinct yet interrelated works: two sets of large-scale color photographs involving the hyperrealist sculpture of Duane Hanson, a body of smaller images involving brussels sprouts, and a 16 mm film, the latter two inspired by the Japanese art/philosophy of flower arranging.

The film, NO, 2003, records from a fixed vantage point the gracefully orchestrated activities of husband and wife farmers at the close of the harvest season in Japan. Tidy piles of mulch, arranged one next to the other with

Los Angeles–based artist Kori Newkirk’s first show at this gallery’s West Coast venue greeted viewers with cast urethane dorsal fins installed on the floor—suggesting a school of man-eating sharks lay just below the surface but also pointing the way toward a freestanding “white cube” display space built inside the gallery’s own rough interior.

The classic gallery setup became both context and object as Newkirk toyed with connotation-laden objects of desire, high and low. Within this area, a world of “whiteness” was multiply incarnated. Fake snow, with its intertwined implications of whiteness,