‘AFTERSHOCK’ Duchamp presides in absentia over this clever show in which things are seldom what they seem. Subtitled “The Legacy of the Readymade in Post-War and Contemporary American Art,” it’s also a witty riff on appropriation. Ranging from Robert Gober’s Drain to Robert Morris’s Bronze Brain, it ricochets from Picabia’s version of Duchamp’s Mona Lisa to Warhol’s Leonardo and Pettibone’s Warhol. The urinals are by Sherrie Levine and Robert Arneson. The Matisse over the mantel is by Sophie, not Henri. But Jasper Johns’s work is mostly his own—except for Elaine Sturtevant’s target—and a beaded Bud six-pack by Liza Lou that one-ups the iconic ale can. THROUGH JUNE 20, Dickinson Roundell, 19 East 66th Street, 212-772-8083. (Levin)

DO-HO SUH It took this Korean-born artist over a year to construct a full-scale replica of his own New York studio apartment from pale blue translucent nylon organza, stitching it himself with the help of some “sewing women.” And it’s fabulous. Complete with radiators, moldings, doorknobs, light switches, and a sagging bookcase, as well as bathroom and kitchen details—all lovably dilapidated—his gauzy, permeable, displaced living space is attached to a pink corridor and a pale green stairway. Overhead is the tiled floor upstairs. Suh hopes to replicate the rest of the building, once he gets up the nerve to ask his landlord. THROUGH JULY 18, Lehmann Maupin, 540 West 26th Street, 212-255-2923. (Levin)


‘THE EQUUS PROJECTS/DANCING WITH HORSES’ A nine-year-old girl and her horse: the oldest romance going. Choreographer JoAnna Mendl Shaw has been exploring it for years, combining a cast of trained dancers with equally proficient riders and their “equine partners.” In her new Kalliope, which has an original score by Steve White and Cam Millar, a cast of 20 joins with seven horses in a process of deep listening, resulting in wise, absurd, and sometimes unpredictable encounters between humans and animals, fantasy and dream, and urban audiences and the reality of horse country. Get there by subway: take the 1 or 9 to the end of the line at Van Cortlandt Park. THURSDAY AND FRIDAY AT 8, Riverdale Equestrian Center, Broadway and West 254th Street, Bronx, 212-924-0077, (Zimmer)

‘FUSE’ Two cutting-edge downtown institutions—HERE and Dixon Place—collaborate to present 19 different dancer-choreographers on six gay-themed programs over three weeks, part of a “celebration of queer culture” that is not to be missed. On the opening bills are Anne Gadwa, Paul Langland, Sara Smith, and Francisco Rider da Silva (Monday), and Jen Abrams, Arthur Aviles, and Sharon Estacio (Tuesday). Buy a season pass and see it all for $50. MONDAY AND TUESDAY AT 7 AND OTHER DATES THROUGH JULY 5, HERE, 145 Sixth Avenue, 212-206-1515, (Zimmer)


‘DARK DREAMS, DANGEROUS PLACES: ROMAN POLANSKI’ With The Pianist demonstrating his resilience yet again, the Polish-born director is feted in this 11-film retro featuring new and/or rare prints of his greatest hit, Rosemary’s Baby, and two appropriately dark post-Hollywood comedies, What? and The Tenant. OPENS SATURDAY, THROUGH JUNE 26, American Museum of the Moving Image, 35th Avenue and 36th Street, Queens, 718-784-0077. (Hoberman)

‘HUMAN RIGHTS WATCH INTERNATIONAL FILM FESTIVAL’ The 14th edition of this always ambitious annual festival surveys films from or about the usual suspects—Israel, Palestine, Kurdistan, Rwanda, and South Africa. Most of the features and docs are New York premieres—including previews of Alexander Rogozhkin’s stark anti-war comedy The Cuckoo and the Cuban boat people documentary Balseros, both scheduled to open this summer. OPENS FRIDAY, THROUGH JUNE 26, Walter Reade Theater, 165 West 65th Street, 212-875-5600. (Hoberman)

‘INTIMATE STRANGER—SELECTIONS FROM THE WORK OF MICHEL AUDER’ A video diarist who lived at the Chelsea and orbited the Warhol world, Auder has produced a body of work documenting a vanished New York milieu. The tapes “star” Warhol, Auder’s then wife Viva and Taylor Mead, among others—with cameos by Valerie Solanas and the Cockettes, and a feature devoted to Alice Neel. Opens THURSDAY, THROUGH JUNE 21, Anthology Film Archives, 32 Second Avenue, 212-505-5181. (Hoberman)

‘THE LUBITSCH TOUCH’ The phrase “genius of the system” suits the German American producer-director Ernst Lubitsch. A less pretentious, more cosmopolitan entertainer than his peers Lang and Murnau. Lubitsch was closer in his showbiz sensibility to the Hollywood moguls. This 34-film retro spans his entire career, from his early Jewish comedies and Pola Negri period extravaganzas through the mid-’20s “continental” silents and the racy operettas in the early ’30s, to the late, plot-driven comedies for which Lubitsch remains best known—Ninotchka, The Shop Around the Corner, and To Be or Not to Be. OPENS FRIDAY, THROUGH JULY 3, Film Forum, 209 West Houston Street, 212-727-8110. (Hoberman)


KASEY CHAMBERS The alt-country Aussie-hippie with the penetrating contralto is looking to develop her aesthetic and her market—her current release is a cover of Cyndi Lauper’s “True Colors.” She’s got the chutzpah to pull it off, too. Whether she’s also got the savvy is anybody’s guess. In this market, savvy is a sometime thing at best. Also: Robinella and the CC String Band. THURSDAY AT 8, Irving Plaza, 17 Irving Place, 212-777-6800. (Christgau)

COLDPLAY Their debut, Parachutes, catapulted them into fame; its polished folk tales of misery prompted others to dub them Radiohead-lite and shoved them into the spotlight at Radio City. Since then, the four British choirboys have grown up (frontman Chris Martin now preaches politics from his mic before snuggling with his starlet Gwyneth), but the songs have matured the most: prettier melodies redolent of the new U2 and Martin’s soaring falsetto—fully resembling Bends-era Thom Yorke—fashion a sound that can fill the Garden as well as the empty shoes of sincere Britpop. With Eisley. FRIDAY AT 8, Madison Square Garden, 2 Penn Plaza, 212-307-7171. (Kim)


ELECTRIC SIX+JAMES CHANCE+THE FEVER The headliners are what you’d get if the Hives worshiped at the altar of Some Girls rather than Fun House, and their odes to gay bars, Taco Bell, white girlfriends, and other big hits of mid-America are a literal and figurative scream. Not only is Fire (XL/Beggars) the funn(i)est album of 2003, it’s selling for only $8 at Virgin. Pink on Pink (Kemado), the new EP from openers the Fever, is sloppier, straighter, and more sardonic than the E6, but the group’s killer cover of Sheila E.’s “Glamorous Life” is worth the splurge by itself. In the middle, veteran punk-funkateer and early 2003 box-set recipient James Chance is just as good-time as his billmates, only a lot saltier. Pucker up. SATURDAY AT 10, Bowery Ballroom, 6 Delancey Street, 212-533-2111. (Matos)

BUDDY GUY The Chicago-meets-Fat Possum sound clash on 2001’s Sweet Tea was Buddy Guy’s freshest musical statement in years. The new Blues Singer, a reverent treatment of Delta classics, doesn’t allow him to get quite as fancy, but he’s as nasty a guitarist as anyone in the Favored Nations camp. Onstage, he’ll likely jump-start these songs with murderous ax work. With Los Lobos. TUESDAY AT 8, Beacon Theater, 2124 Broadway, 212-307-7171. (Caramanica)

THE HIDDEN CAMERAS With a show that’s part Flaming Lips, part Polyphonic Spree (that is, if both bands were queer in more than one sense of the word), main Camera Joel Gibb trashes the myth that all Canadian rockers are polite and temperate with his self-described “gay church folk music” that worships penis in a disarmingly big, blatant way. Come all ye sinners! With Royal City and Sufjan Stevens. THURSDAY AT 10, Knitting Factory, 74 Leonard Street, 212-219-3006. (Walters)

‘LEGENDS OF THE CLARINET’ Remember the Dom on St. Marks Place? That was in the ’60s, the last time many of us heard Tony Scott, the roving clarinetist whose music went from bebop to Zen meditations. He turns 82 this week, and for his return, he shares the stage with the incomparable Buddy DeFranco (who also made a weird side trip, leading the Glenn Miller ghost band), and each night a third clarinetist as guest—on opening night yet another rover, Perry Robinson. Later in the week, the third man will be Kenny Davern, Don Byron, Marty Ehrlich, or Ronny Odrich, a heady and varied lineup. TUESDAY AT 8 AND 10, THROUGH JUNE 22, Iridium, 1650 Broadway, 212-582-2121. (Giddins)

VAN MORRISON He’s a songwriter, and his paycheck’s in the mail. But he’s also a bandleader, first and foremost—even more so than a performer, which he can be when the mood gets in him. Which is, by all accounts, a lot more frequently than you might expect from a guy whose albums are festooned with songs about being a grumpy old man who misses the old days. Good, well-written songs about being a grumpy old man who misses the old days—songs a well-led band can take to the bridge. With Solomon Burke & the Soul Alive Orchestra. FRIDAY AT 8, Theater at Madison Square Garden, Seventh Avenue and 32nd Street, 212-307-7171. (Matos)

‘ROLLINS BAND: WEST MEMPHIS THREE BENEFIT’ Though the life-is-stranger-than-fiction documentaries Paradise Lost and Revelations: Paradise Lost 2 (three seemingly innocent teenage boys—the West Memphis Three—sentenced to life in prison due to small-town hysteria and legal incompetence) are real-life tragedies, this sadly still-ongoing story has its hopeful side. Many moved by the movies have donated their time, energy, and legal counsel. Tonight’s show is part of a legal defense fund benefit tour and CD—Rise Above, a Black Flag tribute—featuring the Rollins Band, Hank, and fellow ex-Black Flag frontman and Circle Jerk Keith Morris. Free the West Memphis Three! With Puny Human. SATURDAY AT 8, Irving Plaza, 17 Irving Place, 212-777-6800. (Bosler)

‘WILD, WILDER WESS: A CELEBRATION OF THE MUSIC & LIVES OF FRANK WESS & JOE WILDER’ Just another one of those cockeyed JVC titles, but an honorable idea—paying homage to two surviving masters, trumpeter Joe Wilder, whose lyricism and sweet tone are unscathed by age, and Frank Wess, who remains one of the most in-demand saxophonists and flutists in jazz. Joining them is a cabal of great players, worthy of a festival kickoff, including Jimmy Heath, Phil Woods, Antonio Hart, Jon Faddis, Roy Hargrove, Warren Vaché, Bill Charlap, Russell Malone, and many more. The gods will have to be really, really pissed at Festival Productions to allow this to be anything less than jam-session bliss. TUESDAY AT 8, Kaye Playhouse, East 68th Street between Park and Lexington avenues, 212-772-4448. (Giddins)


PIERRE ET GILLES For their first New York gallery show in more than 12 years, this provocative pair mounts a mini-retro that highlights the full range of their gloriously kitsch, sensationally queer, subversively comic inventiveness. Layering artifice upon artifice, Pierre et Gilles turn a repertory crew of hunks and babes into saints, sailors, starlets, or sluts, but this time they’ve reserved the most outrageous roles for themselves. In 13 huge images that pay homage to Lucas Samaras, representation slips dreamily into abstraction as their nude bodies (and looming hard-ons) are reflected, distorted, and duplicated in a mirrored environment a little too hellish to be pure pleasure dome. THROUGH JUNE 28, Robert Miller Gallery, 524 West 26th Street, 212-366-4774. (Aletti)

THOMAS RUFF As with his digitally smeared porn swipes, Ruff’s great new photos were derived from existing source material. The “Substrats,” the most spectacular series here, is a liquid meltdown of Japanese anime and manga cartoon images, so abstracted as to leave no visual trace of its origins save for juicy, electric pools of color. The “Machines,” appropriated from ’30s pictures of industrial machinery, places enigmatic, Becher-esque (and now peculiarly colorized) hunks of metal in the foreground of factory interiors that were turned into ghostly scrims by the original photographer. Reality? Illusion? Typically, Ruff gives us the best of both worlds at once. THROUGH JUNE 21, David Zwirner, 525 West 19th Street, 212-727-2070. (Aletti)


‘EIGHT DAYS (BACKWARDS)’ In Jeremy Dobrish’s new play, 13 urbanites live out a typical week of missed appointments and unexpected collisions, only in reverse. How merrily they roll along in this contrariwise direction remains to be seen, but the cast of notables playing them, under Mark Brokaw’s direction, should offer some bright spots, since it includes Bill Buell, Randy Danson, David Garrison, and Christopher Innvar, all of whom have won praise in these precincts on more straightforward occasions. IN PREVIEWS, OPENS JUNE 16, Vineyard Theatre, 108 East 15th Street, 212-353-0303. (Feingold)

‘ST. SCARLET’ Three snowbound siblings have to cope simultaneously with their mother’s death and a confrontational intruder in this play by a much touted newcomer, Julia Jordan. Her producers are WET—that is, they’re Women’s Expressive Theater—but they’re probably not all wet, since they’ve had the sense to hire one of New York’s more adventurous young actors, Chris Messina, to direct Jordan’s opus. PREVIEWS BEGIN JUNE 17, OPENS JUNE 25, Ontological at St. Mark’s, 131 East 10th Street, 212-868-4444. (Feingold)


AL HIRSCHFELD Susan Dryfoos’s 1997 doc The Line King drew a circle around caricaturist nonpareil Al Hirschfeld, who passed away six months ago at the enviable age of 99. The Sunday Times hasn’t been the same without his elegant, above-the-fold drawings, in which one could hunt for embedded Ninas (his daughter’s name) tangled in coifs and the fringes of fabric. (Nicholson Baker immortalized this ritual in U and I.) A panel convenes, featuring Sidney Lumet, Jules Feiffer, Hirschfeld’s widow Louise, and others. Can any of them shed light on Hirschfeld’s two classic renderings of ’30s mystery writer Harry Stephen Keeler, author of such brain-busting classics as Sing Sing Nights and The Box From Japan? And what of his commissioned portrait of Hartford metal-king Michael Suisman? THURSDAY AT 7, Makor, 35 West 67th Street, 212-413-8841. (Park)

ALEXANDER VON HOFFMAN Surprisingly engaging for a geographically wide-ranging study of urban decay and renewal, von Hoffman’s House by House, Block by Block also pleases with its inherent optimism for the force of grassroots low-income housing efforts (he concludes that the most successful examples result from combination public/private community development programs). The Harvard housing studies fellow will share the good news at a reception that will no doubt celebrate both the steady rebirth of the South Bronx (his local focus) and the death of public housing as a viable strategy. THURSDAY AT 6:30, New-York Historical Society, 2 West 77th Street, 212-873-3400. (Giuffo)

PAUL MULDOON Of post-WW II Irish poets, 2003 Pulitzer Prize winner Muldoon (Moy Sand and Gravel) is the most limber—as comfortable riffing on Nirvana’s Bleach as dramatizing the Troubles, in dense, pullulating language that “delights to tread upon the brink/of meaning.” TUESDAY AT 7, Irish Arts Center, 553 West 51st Street, 212-757-3318. (Reidy)