Iñigo Manglano-Ovalle has probably passed enough professional milestones—participation in Documenta (in 2007), the Whitney Biennial (in 2000), and various other exhibitions in museums and galleries around the world; receipt of a MacArthur “genius” grant—to indulge himself in a one-liner. Dirty Bomb, 2008, is a full-scale replica of Fat Man, the atomic bomb dropped on Nagasaki in August 1945, immaculately translated by the artist into white fiberglass and aluminum. Suspended from the ceiling, the bulbous, dirigible-shaped colossus has mud slathering its otherwise pristine snout, much of it dripping

Mickalene Thomas’s exhibition “Girlfriends, Lovers, Still Lifes, and Landscapes” far exceeds the decorative wallop of her first solo show two years ago at the same venue. She has become masterful at maximizing ornamentation and slick in her fearless color combinations. Her paintings, which combine large fields of poured enamel, thin brushy passages of acrylic paint, and thousands of fastidiously applied glitzy rhinestones, brazenly bring the feminist-inspired politics of the Pattern and Decoration movement to genre painting.

Landscape with Woman Washing Her Feet (all works 2008), which measures