Ernesto Neto
April 12–May 26

Brazilian artist Ernesto Neto fills interior spaces with colorful netting, bulbous appendages, and pleated corridors the viewer can wander through as if inside a living organism. In the tradition of the neo-concrete artists of late '50s Brazil, who focused on the body's engagement with the world rather than mere visual representations (their initial manifesto decried "art that is influenced by a dangerously acute rationalism"), Neto sometimes includes scented spices to further engulf viewers' senses. Tanya Bonakdar Gallery, 521 West 21st Street,

Michael DeLucia
April 29–June 2

Pianos need not fear Matelli right now. Below, a metal flower. SEE ALSO: Tony Matelli: The Dirty Mirror Man
Christopher Farber
Pianos need not fear Matelli right now. Below, a metal flower. SEE ALSO: Tony Matelli: The Dirty Mirror Man

Straddling the formal divide between painting and sculpture, Michael DeLucia employs a precise cutting tool to excise complex geometric patterns across standard 4-x-8-foot plywood sheets coated with paint (often an industrial-green hue used for construction scaffolding). These carefully plotted matrices create atmospheric scrims of light that beautifully complement the irregular knots and wood grain in the panels, reminding us of the organic origins, however far removed, of DeLucia's materials. Eleven Rivington, 11 Rivington Street,

Vlatka Horvat
April 29–June 24

In the past, this Croatia-born artist has cut up photographs of figures and rearranged the pieces into startling geometric collages, a theme she carried into three dimensions by sawing a soccer goal into large fragments, which she used to chop up the gallery space. Her installations are fraught with concern about boundaries and limits (consider the bloody passion for soccer around the world). In her upcoming show, Horvat will again be working in both 2- and 3-D, dividing the gallery into framed-off sections, placed near the floor, which might conjure visions of sandboxes and wading pools, or perhaps fields of ruins. Rachel Uffner, 47 Orchard Street,

Brandon Ballengée
May 5–June 16

Whether collecting various pollutants to use as paint mediums or setting up black lights in forests to attract nocturnal bugs to his "Love Motels for Insects," Brandon Ballengée strives to combine art with biodiversity. For his Feldman show, expect a pyramid of jars containing more than 400 preserved specimens representing the unraveling of the Gulf of Mexico's food chain in the wake of the BP oil spill. Some of the jars will remain empty to symbolize extinct and seriously threatened species. Ronald Feldman Fine Arts, 31 Mercer Street,

Marco Breuer
May 10–June 23

In an age when photographs consist of ephemeral particles viewed on screens, Marco Breuer delves into the visceral, chemical roots of the medium by using electric frying pans and other DIY tools to burn and abrade photographic paper. The rich colors and sumptuous textures of Breuer's abstractions have a kinship to Gerhard Richter's paintings, not least because both artists have chosen to upend the usual figure/ground balance in their chosen mediums. Von Lintel Gallery, 520 West 23rd Street,

'Bellini, Titian, and Lotto'
May 15–September 3

If you can't afford to fly to Italy and tramp through its churches and museums to satisfy your painting jones, relax: The Met is bringing a bit of the Renaissance to you. While the Accademia Carrara, in northern Italy, is being renovated, 14 paintings from its galleries will be on loan, including four by the always-compelling Lorenzo Lotto (c. 1480–1556), who sacrificed naturalism for a heightened palette and stylish compositions. The Metropolitan Museum of Art, 1000 Fifth Avenue,

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