Cats, children, dolls, interiors, still lifes, and contemplative self-portraits were not Maeve Gilmore’s only subjects, though they dominated a captivating display—her first institutional exhibition—at Studio Voltaire. Twenty paintings by the English artist, who was born in 1917 and died in 1983, spanned roughly four decades of her career, from 1943 through 1978. While Gilmore’s wider oeuvre includes abstract and pared-down, spiritually inflected work, here the focus was closer to home. A drab hush sometimes falls over invocations of the “domestic,” so often an undifferentiated shorthand for

You can learn a lot about a culture from what it chooses to throw away. In “The Growth of Communication,” Lonnie Holley attempted a subtle yet profound act of salvage, repurposing discarded materials to create a counterhistorical archive of silenced voices and dispossessed lives.

Born in 1950 in Birmingham, Alabama—a center for heavy industry in a former Confederate slave state brutalized by Jim Crow laws—Holley is both witness and translator of the Deep South’s fractious legacy. During a residency earlier this year in Orford Ness, a stretch of coastline in Suffolk, UK, the artist traced the