ZAHA HADID With drawings, models, and digital renderings installed on a maze of angling panels, and a biomorphic pony-skin seating unit, this exhibition of the cutting-edge architect’s breathtaking work, built and unbuilt, is generous to a fault. Unless you’re a fellow architect, don’t try too hard to make it all make sense. Just give in to total immersion in her fluid, far-out vision of structure and space: a skewed interplanetary constructivism with supersonic angles, deep-space perspectives, and wraparound curves. The design for her latest commission, an Oklahoma arts center, is here, as is a high-speed projection of her first U.S. building—the Center for Contemporary Arts in Cincinnati. THROUGH JULY 26, Artists Space, 38 Greene Street, 212-226-3970. (Levin)

‘KAZIMIR MALEVICH: SUPREMATISM’ Though Matthew Barney’s mutant forms, gooey substances, and baroque narratives have moved on, this small perfect show of Malevich’s work from the pivotal years 1913-1915 still presides quietly up in Tower Galleries 2 and 4, tracing the way to non-objectivity as if to re-create the birth of abstract art. It’s a treat to see how the pioneer suprematist dissolved planes, levitated rectangles, obliterated cubism with implacable squares, and worked out the kinks in this once radical new vision. In Malevich’s own words: “The artist has liberated himself from all ideas, images, notions, all objects arising from them and the entire structure of dialectic life.” THROUGH SEPTEMBER 7, Guggenheim Museum, 1071 Fifth Avenue, 212-423-3500. (Levin)


‘PORTALS, THE FLOATING CINEMA’ At twilight, head for a free event that combines choreography (by former Bill T. Jones dancer Andrea Woods), live music (by jazz violinist Tia Hanna), dancing and drumming (by the Magbana ensemble), and Middle Eastern dancer Blanca Begley (alongside a candlelight procession), with the opportunity, after dark, to watch seven short dance films appear magically on a screen that floats in the pond, a project of Jon Rubin’s Cinema Events. THURSDAY AND FRIDAY AT 8:30, Prospect Park Pond, Ocean Avenue/Parkside Avenue entrance, 212-727-0764. (Zimmer)

‘MIDSUMMER NIGHT SWING’ Buster Poindexter kicks off the 15th season of dancing to live music under the stars, on a sprung wooden floor (if you pay) or on the concrete (if you freeload). First, Nathalie Gomes and Yuval Hod burnish your swing, Latin, jump blues, and soca steps. On Thursday, Hector del Curto & Eternal Tango play for tangueros. Friday, Jimmy Bosch’s band plays salsa dura. Saturday afternoon, Pierre Dulaine of American Ballroom Theater Company offers ballroom and cha-cha lessons for kids; later the Harlem Renaissance Orchestra plays uptown swing for lindy-hoppers (and Dulaine teaches). Classes are included in the price of your ticket. Addicts can buy a season pass, or new six- or 10-night passes. WEDNESDAY THROUGH FRIDAY AT 6:30 (FOR CLASS) AND 8 (FOR OPEN DANCING), SATURDAY AT 4 (ESPECIALLY FOR KIDS) AND 6:30 AND 8, THROUGH JULY 26, Josie Robertson Plaza, Lincoln Center, Columbus Avenue and 63th Street, 212-721-6500, (Zimmer)


FIRST RUN/ICARUS RETROSPECTIVE The 25th anniversary celebration of the political documentary distribution outfit named for the Greek kid who flew too close to the sun has some pretty dazzling inclusions—a hefty assortment of films by Anand Patwardhan, including his look at “nuclear nationalism” in India and Pakistan, some rare, vintage Chris Marker, and a week-long run of Peter Watkins’s epic La Commune (Paris, 1871). OPENS THURSDAY, THROUGH JULY 23, Anthology Film Archives, 32 Second Avenue, 212-505-5181. (Hoberman)

‘HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM’ Never more influential than now, an essential ingredient in the Hollywood matrix, the most popular of Chinese genres is historicized by this 19-film series of new 35mm prints and archival video transcriptions. Although the Hong Kong features of the ’60s and ’70s dominate, “Heroic Grace” harks back to the late silent period and looks ahead to the (quite different) revivalism of Wong Kar-wai’s Ashes of Time and Ang Lee’s Crouching Tiger, Hidden Dragon. OPENS FRIDAY, THROUGH JULY 10, Walter Reade Theater, 165 West 65th Street, 212-875-5600. (Hoberman)

‘LA MAISON DU MYSTERE’ The talk of the film-preservation world ever since its premiere last year in Bologna, Alexandre Volkoff’s 1923 serial—starring Russian émigré actor Ivan Mosjoukine—is getting its local premiere in our own maison du mystère on 23rd Street. The movie runs nine hours, with two intermissions, piano accompaniment, and a simultaneous English translation. SATURDAY AT 1, MOMA at the Gramercy, 127 East 23rd Street, 212-777-4900. (Hoberman)


ORNETTE COLEMAN & CHARLIE HADEN Haden’s set with Michael Brecker and Kenny Barron will feature the bassist’s “American Dreams,” a large-scale work performed with the Berklee String Chamber Orchestra conducted by Matt Glaser. But let’s face it, that’s not why you’re going. This is a rare JVC appearance by Haden’s former boss—a rare chance in any venue to bask in one of the most distinctive sounds and concepts in all music. Coleman will lead a trio with bassist Tony Falanga, a remarkable musician who plays the classical rep as much as jazz, and splendid drummer Denardo Coleman, who has worked with his father on and off since the age of 10. WEDNESDAY AT 8, Carnegie Hall, 154 West 57th Street, 212-247-7800. (Giddins)

NORAH JONES+GILLIAN WELCH Oh sister where aren’t thou? Me and Miss Jones, we got a thing goin’ on. (She may not know why she didn’t come, but I know why I did). The antithesis of edge, maybe, but has there ever been a slice of human Xanax so sweet? (Hipsters, thou protest so much—and with Dionne crooning on your turntable? Tsk tsk.) Gillian Welch lends her reliable lowland yelp. Come away with us. WEDNESDAY AT 8, Beacon Theater, 2124 Broadway, 212-307-7171; FRIDAY AT 8, PNC Bank Arts Center, Holmdel, New Jersey, 212-307-7171. (Sinagra)

MOBB DEEP After Loud dissolved and before they signed to Jive, Mobb Deep released a mixtape that seemed to have an implied message for 50 Cent and his G-Unit-come- latelies—we started this street shit, and we haven’t gone anywhere. Indeed, before 50 made it fashionable to be from Queens, Prodigy and Havoc repped for the locale’s downtrodden, and to this day, 112 collaboration aside, they remain among the borough’s most eloquent bards. This rare performance on the mainland is sure to feature more than its share of vitriol, so man up. WEDNESDAY AT 10:30, B.B. King Blues Club and Grill, 237 West 42nd Street, 212-307-7171. (Caramanica)

WAYNE SHORTER In a kind of mini-retrospective of a saxophonist and composer whose work continues to increase in stature and who rarely stays still long enough to become familiar, let alone predictable, Shorter will lead his matchless quartet (Danilo Perez, John Patitucci, the amazing Brian Blade), reunite with Herbie Hancock, and make use of the sensational tap dancer Savion Glover and the Festival Chamber Orchestra as conducted by Robert Sadin. This is the kind of ambitious undertaking JVC should be mounting every year—if the rafters are packed, they may again. SATURDAY AT 8, Carnegie Hall, 154 West 57th Street, 212-247-7800. (Giddins)

HOWARD TATE & THE UPTOWN HORNS REVIEW Sorry to say that his new album isn’t magic but how can you not love this long-lost soul man and his remarkable return to action after being gone for decades? His voice and stage manner reflect the time off he took to preach (a good thing, actually) and songwriter-producer Jerry Ragovoy always provides solid backing for him. Even if you don’t know Tate by name, you’ll know his songs that Jimi, Janis, and B.B. covered, and why they covered them. TUESDAY AT 8 AND 10, Village Underground, 130 West 3rd Street, 212-777-7745. (Gross)

RUFUS WAINWRIGHT+DANIEL LANOIS Rufus Wainwright’s performance and singing skills keep improving: Between his mostly serious, sophisticatedly beautiful songs, he’s a funny guy, with a queen’s knack for representing his peeps while keeping straights in chuckles. Despite several solo albums under his belt, U2 knob twiddler Lanois is by contrast a producer, not an entertainer. With the Dears and Sarah Slean. SUNDAY AT 3, Rumsey Playfield, Central Park, midpark, at 72nd Street, 212-360-CPSS. (Walters)

WILCO+SONIC YOUTH Sonic Youth have fallen out of the kind of rabid collegiate esteem Wilco now enjoy, mostly because they matured, but both these A-list alt bands are arguably at their most vital musically. If you can stomach Wilco’s ho-hum depressiveness, you can admire their newly updated sonic palette as you helplessly hum along to the tunes. With SY, tunefulness is absorbed into powerful, gargantuan (even genuinely artful) atmospheric spaces, where the band lingers like lifers, and they should still impress the socks off anyone willing to give them their full attention. THURSDAY AND FRIDAY AT 6:30, Rumsey Playfield, Central Park, midpark, at 72nd Street, 212-360-CPSS. (Hoard)

WIRE Last time they were here, the skinny gray-haired inventors of art-punk did almost all new, streamlined material, and it sounded unbelievably fierce: rough like a diamond-tipped drill drill drill, with Colin Newman bounding and howling and Bruce Gilbert grating his favorite chord into steel filings. They played 1977’s Pink Flag straight through at a couple of April gigs, but I wouldn’t be surprised (or disappointed) if they’ve written another new set for this tour. With the Harlem Shakes. FRIDAY AT 10, Bowery Ballroom, 6 Delancey Street, 212-533-2111. (Wolk)

NEIL YOUNG & CRAZY HORSE+LUCINDA WILLIAMS What a great idea—Mr. It’s All the Same Song meets Ms. I Create Specificities Dogs and Cats Can Understand. Both past 50 and refusing to act it, too, although Young put the whole question behind him years ago while the newer star continues to worry it to death. Both rocking in the tradition and in their own way. And, er, both with new albums to push. May they fill hockey rinks in some kind of perpetuity. THURSDAY AT 8, Madison Square Garden, 2 Penn Plaza, 212-307-7171; SUNDAY AT 7, Jones Beach Theater, 1000 Ocean Parkway, Wantagh, New York, 212-307-7171. (Christgau)


STEPHANE COUTURIER Couturier made his reputation with large-scale color photos of urban construction sites that flattened perspective and turned dense (and mostly European) cityscapes into subtly spectacular abstractions. Here he moves into the American and Mexican landscape for a series of big, broad, often aerial views of parkways and housing developments. The most interesting of these look at the eroding boundary between natural and man-made environments in images so tightly composed they feel like jigsaw puzzles. Best in show: a San Diego vista, from new tract homes to the distant, hazy horizon, seen through the ad hoc window of an unfinished house. THROUGH FRIDAY, Laurence Miller Gallery, 20 West 57th Street, 212-397-3930. (Aletti)

KAHN/SELESNICK “City of Salt,” this collaborative team’s latest excursion into a vividly imagined and meticulously staged parallel universe, is, as usual, as entertaining as it is enigmatic. The city, a scale model of which sits on a bed of salt on the gallery’s floor, is an orientalist fantasy of clay towers and onion domes in a landscape that’s part desert, part marshy field, and entirely metaphoric. The photographers play multiple, mythic roles—flying with canvas wings above the embattled city, immersed in a water-lily pond—in delicately colored panoramic images so serenely beautiful that their obsessive inventiveness never feels gimmicky. THROUGH JULY 3, Yancey Richardson Gallery, 535 West 22nd Street, 646-230-9610. (Aletti)


‘GETTING INTO HEAVEN’ Sex, drugs, rock ‘n’ . . . motherhood? Whatever you think of the combination, it’s the subject of actress Polly Draper’s NYC playwriting debut. She stars, naturally, as a bad-girl rock star forced to confront maturity and family crisis. Her supporting cast, in Claire Lundberg’s production, includes Gretchen Egolf, James Badge Dale, and Obie winner Barbara Eda-Young. IN PREVIEWS, OPENS JULY 2, Flea Theater, 41 White Street, 212-226-2407. (Feingold)

‘THE IMPORTANCE OF BEING EARNEST’ “I never travel without my diary. One should always have something sensational to read on the train.” If you haven’t memorized that and a few hundred other of Oscar Wilde’s most elegantly polished wisecracks, it’s probably high time you saw this masterpiece of high verbal combat again. The Atlantically bicoastal folks at Aquila Theatre Company are luckily on hand with their new production, co-conceived by designer Peter Meineck and director Robert Richmond. Gwendolen, the carriage. IN PREVIEWS, OPENS SUNDAY, Baruch Performing Arts Center, 150 East 25th Street, 212-674-2650. (Feingold)


AUGUSTEN BURROUGHS Burroughs has survived many things: being given away by his mother to her insane psychiatrist at the age of 12, and literary success with his bestselling 2002 memoir, Running With Scissors. His latest autobiographical endeavor, Dry, picks up where Scissors left off, after Burroughs relocates and becomes both a high-paid ad exec and a raging alcoholic. With honesty, wit, and resilience, Burroughs tackles endless martinis, rehab, and his best friend’s losing battle with AIDS. As he writes, “This is the sort of conversation piece you simply can’t find at Pottery Barn.” WEDNESDAY AT 7, Melville Gallery, 213 Water Street, 212-748-8735. (Russell)

LE THI DIEM THUY+HONOUR KANE Touted in these pages as a memoir (Le was a VLS Writer on the Verge), now shifted ever so slightly into novel-land, The Gangster We Are All Looking For is the immigrant’s song told in sentences that swarm with silences or break out into litany. What color is your life raft? “Before Linda Vista, we lived in the Green Apartment on Thirtieth and Adams, in Normal Heights. Before the Green Apartment, we lived in the Red Apartment on Forty-Ninth and Orange, in East San Diego. Before the Red Apartment, we weren’t a family like we are a family now.” FRIDAY AT 7, Housing Works Used Book Café, 126 Crosby Street, 212-334-3324. (Park)