With their watery, atmospheric grounds, china-blue hues, and organic yet somehow robotic forms, Japanese artist Tomoo Gokita’s sixteen new canvases mark a striking shift forward in the artist’s style. Whereas the works in his 2007 show at Honor Fraser retained a distinctive figuration—painted black-and-white bodies lifted from lingerie ads, 1970s yearbooks, and porn magazines, and portraits of Mexican wrestlers and geishas, all of which were partially consumed by anxious, repeating brushstrokes—the artist has now loosened his grip on unequivocal source material, allowing a minimal abstraction

Jennifer Steinkamp’s installations frequently induce a level of immersion that is unusual, the familiar act of looking shading quickly into something more like swimming. The four works in her series “Orbit,” 2008–, for instance, are each like a fall in zero gravity. The matrices of branchlike tendrils and fluorescent leaves that make up the video projections blow, swirl, and rotate across two expansive perpendicular walls. But also, and very deliberately, the projections wash legibly across the body of the viewer, physically absorbing him or her into the installations. The spectator, then,