Paula Hayes
June 19–August 22

Climb to the gallery's rooftop for a view, not of the city, but of Paula Hayes's elegant design for the urban garden: minimalist silicone planters and other objects, organically shaped and sometimes translucent, plus birdhouses that Philip Guston might have imagined. The gallery itself will show Hayes's intricate terrariums housed inside elliptical vessels of hand-blown glass, as well as a film (a "dynamic poem") on the concepts behind her art. Marianne Boesky Gallery, 509 West 24th Street,

WK Interact and Space Invader
June 27–July 25

Graham enacts Performer/Audience/Mirror in Amsterdam, 1977
Courtesy Dan Graham
Graham enacts Performer/Audience/Mirror in Amsterdam, 1977

The styles of these two street artists, both originally from France, couldn't be further apart. WK, with his intriguing mix of action painting and action scenes, presents a dozen large black-and-white portraits titled Twelve Angry Men: snarling faces caught in vortices of anxious paint. For his part, Invader brings his colorful "pixelated" mosaics, cleverly assembled with Rubik's cubes, of movie villains and characters (his trademark) from early low-res video games. Jonathan LeVine Gallery, 529 West 20th Street,

James Ensor
June 28–September 21

What inspired They Might Be Giants to write that insipid little bubblegum tune "Meet James Ensor" is anyone's guess, but it couldn't have been the Belgian artist's strange, and sometimes hilarious, scenes of skeletons, corpses, and masked citizenry. Ensor's garish palette, thick paint, and flattened planes prefigured modernism (the surrealists loved him), and his best works (from the 1890s) still appear so fresh that you might mistake them for products of a Chelsea wit, like Skeletons Fighting Over a Pickled Herring. Meet James Ensor. Museum of Modern Art, 11 West 53rd Street,

'Black Acid Co-op'
July 2–August 15

Justin Lowe and Jonah Freeman described their last labyrinthine installation of a druggie den, Hello Meth Lab in the Sun, as "a world reminiscent of Norman Mailer's 50th birthday party and the final scene in Rosemary's Baby," so expect more horror and heroin for their new project, Black Acid Co-op, a series of interconnected cinematic dioramas depicting a counterculture enclave—a gritty, Gothic funhouse sure to be a kick. Deitch Projects, 18 Wooster,

Hurvin Anderson
July 16–October 25

Born to Jamaican parents in England, Hurvin Anderson paints dreamy scenes of the immigrant experience and the Caribbean, giving his interiors and landscapes the quality of indistinct memories through selective and gentle abstraction. In their fine balance of planar color and an emphasis on geometric elements, Anderson's works suggest influences from David Hockney or Richard Diebenkorn, but carry more colloquial interests: an attic office, a rural home, the makeshift barbershop. Calm and unpretentious, the paintings are masterful for their restraint. The Studio Museum, 144 West 125th Street,

‘In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976’
July 19–October 5

In the 1960s and '70s, the liberal culture of Amsterdam became a mecca for artists of the avant-garde. This exhibit, which promises to be one of the summer's liveliest, gathers 120 works from a number of the era's edgy conceptualists who completed or exhibited work in the city. Among them are the inseparable Gilbert and George, whose lives became their art; the late Hanne Darboven, with her dense drawings of repeated numbers, figures, and lines; and the Chaplinesque Bas Jan Ader, who made those sad little films about falling. Museum of Modern Art, 11 West 53rd Street,

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