She finds great company in aloneness. A strip of light beneath a closed door; colors flapping from a clothesline; gray raindrops squiggling down a city window; a snowy, headlit hill; a lunar eclipse. For more than seventy years, Lois Dodd has lent a generous presence to mostly unpeopled views in or near her homes in New York, New Jersey, and midcoastal Maine. Associated with a set of postwar painters including Gretna Campbell, Alex Katz, and Neil Welliver—artists who, amid AbEx and Pop hegemony, courted gentle contrarianism by reengaging landscape painting via airily abstract modes of perception—she

Over the past three decades, photographer Liz Johnson Artur has been amassing a body of work she calls the “Black Balloon Archive,” ca. 1991–, focused on the African diaspora. The Russian-Ghanaian artist’s first UK solo show, “If you know the beginning, the end is no trouble,” focused on London, with a particular emphasis on the South London area of Peckham, home to a large black population. The installation raised questions around the relationship between art and social life in a context of urban gentrification. While the density of interactions on offer seemed emblematic of the city at large,

In a selection of works dated 1955 to 2001, several poised, boulder-like works by the Serbian artist Olga Jevrić (1922–2014) absorbed light into heavy gray, brown, and orange surfaces derived from ferric oxide, iron, cement, terra-cotta, and bronze. The ensemble had a grounding quality that was also uplifting. Invested with movement, certain constructions driven through with iron rods appeared to have forced themselves out of the earth. Inspired by the twelfth- to sixteenth-century stećci, or medieval tombstones, found in vast numbers in cemeteries across the borders of southeast Europe, Jevrić