Museum-quality exhibitions to see

Skip the admission and check out these free shows, current and upcoming, of historical artists.

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  • Photograph: Courtesy David Zwirner

    John McCracken, Six Columns, 2006

    John McCracken, “Works from 1963–2011”
    The Zen master of California Finish Fetish Minimalism, McCracken is recalled here in a roundup of pieces culled from public and private collections. Don’t miss the forest of black monoliths. David Zwirner, through Oct 19.

  • Photograph: Courtesy David Zwirner

    Installation view of John McCracken, "Works from 1963-2011" at David Zwirner

    John McCracken, “Works from 1963–2011”
    The Zen master of California Finish Fetish Minimalism, McCracken is recalled here in a roundup of pieces culled from public and private collections. Don’t miss the forest of black monoliths. David Zwirner, through Oct 19.

  • Photograph: Courtesy David Zwirner

    John McCracken, Theta-Two, 1965

    John McCracken, “Works from 1963–2011”
    The Zen master of California Finish Fetish Minimalism, McCracken is recalled here in a roundup of pieces culled from public and private collections. Don’t miss the forest of black monoliths. David Zwirner, through Oct 19.

  • Photograph: Collection Fondation Dubuffet; © 2013 Artists Rights Society (ARS); New York / ADAGP; Paris

    Jean Dubuffet, Argument XLIV, October 22, 1983

    “Jean Dubuffet: Excursions en no man’s space”
    Dubuffet (1901–1985) created these works on paper during the final decade of his life, and in them one can see all the career hallmarks of the noted postwar French painter and sculptor, most notably his blend of figuration and abstraction, as well his interest in outsider art, which he labeled Art Brut.

  • Photograph: Collection Fondation Dubuffet; © 2013 Artists Rights Society (ARS); New York / ADAGP; Paris

    Jean Dubuffet, Activation V, December 16, 1984

    “Jean Dubuffet: Excursions en no man’s space”
    Dubuffet (1901–1985) created these works on paper during the final decade of his life, and in them one can see all the career hallmarks of the noted postwar French painter and sculptor, most notably his blend of figuration and abstraction, as well his interest in outsider art, which he labeled Art Brut.

  • Photograph: Courtesy Pace Gallery; © 2013 Artists Rights Society (ARS); New York / ADAGP; Paris

    Jean Dubuffet, Situation LII, August 24, 1978

    “Jean Dubuffet: Excursions en no man’s space”
    Dubuffet (1901–1985) created these works on paper during the final decade of his life, and in them one can see all the career hallmarks of the noted postwar French painter and sculptor, most notably his blend of figuration and abstraction, as well his interest in outsider art, which he labeled Art Brut.

  • Photograph: Courtesy Dominique Lévy

    Lucio Fontana, Concette Spaziale Attese, 1957

    “Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly”
    Dominique Lévy opens her new space with these three masters of postwar art. On view are more than 30 rare works, including loans from MoMA and Houston’s Menil Collection. Dominique Lévy Gallery, through Nov 16.

  • Photograph: Courtesy Dominique Lévy

    Yves Klein, Untitled Anthropometry (ANT 8), 1960

    “Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly”
    Dominique Lévy opens her new space with these three masters of postwar art. On view are more than 30 rare works, including loans from MoMA and Houston’s Menil Collection. Dominique Lévy Gallery, through Nov 16.

  • Photograph: Courtesy Dominique Lévy

    Cy Twombly, Untitled, 1969

    “Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly”
    Dominique Lévy opens her new space with these three masters of postwar art. On view are more than 30 rare works, including loans from MoMA and Houston’s Menil Collection. Dominique Lévy Gallery, through Nov 16.

  • Photograph: Tom Powel Imaging; Inc.; courtesy Mnuchin Gallery

    Donald Judd, Untitled IBernstein (78-69), 1978

    “Donald Judd: Stacks”
    The gallery presents ten pieces from the artist’s iconic sculptural series, “Stacks.” Each consists of multiple sets of boxes, mounted one above the other on a wall. Cool and elegant, these studies in relationships among form, color and space have become Judd’s signature pieces. Mnuchin Gallery, Sept 26–Dec 7.

  • Photograph: Tom Powel Imaging; Inc.; courtesy Mnuchin Gallery

    Donald Judd, Untitled (Bernstein 90-11), 1990

    “Donald Judd: Stacks”
    The gallery presents ten pieces from the artist’s iconic sculptural series, “Stacks.” Each consists of multiple sets of boxes, mounted one above the other on a wall. Cool and elegant, these studies in relationships among form, color and space have become Judd’s signature pieces. Mnuchin Gallery, Sept 26–Dec 7.

  • Photograph: Tom Powel Imaging; Inc.; courtesy Mnuchin Gallery

    Donald Judd, Untitled (Bernstein 90-11), detail, 1990

    “Donald Judd: Stacks”
    The gallery presents ten pieces from the artist’s iconic sculptural series, “Stacks.” Each consists of multiple sets of boxes, mounted one above the other on a wall. Cool and elegant, these studies in relationships among form, color and space have become Judd’s signature pieces. Mnuchin Gallery, Sept 26–Dec 7.

  • Photograph: Tom Powel Imaging; Inc.; courtesy Mnuchin Gallery

    Donald Judd, Untitled (DSS 120), 1968

    “Donald Judd: Stacks”
    The gallery presents ten pieces from the artist’s iconic sculptural series, “Stacks.” Each consists of multiple sets of boxes, mounted one above the other on a wall. Cool and elegant, these studies in relationships among form, color and space have become Judd’s signature pieces. Mnuchin Gallery, Sept 26–Dec 7.

  • Photograph: Tom Powel Imaging; Inc.; courtesy Mnuchin Gallery

    Donald Judd, Untitled (DSS 120), detail, 1968

    “Donald Judd: Stacks”
    The gallery presents ten pieces from the artist’s iconic sculptural series, “Stacks.” Each consists of multiple sets of boxes, mounted one above the other on a wall. Cool and elegant, these studies in relationships among form, color and space have become Judd’s signature pieces. Mnuchin Gallery, Sept 26–Dec 7.

  • Photograph: Adam Reich; courtesy of Luxembourg & Dayan

    César, Compression Mobylette (Moped Compression), 1970

    César
    A Nouveau Réalist sculptor and French cultural hero, César is little known here. This survey offers New Yorkers a chance to catch up with an artist whose interest in technology led him to create truly unusual works made from crushed cars, polyurethane and Plexiglas. Luxembourg & Dayan, Nov 2–Jan 18.

  • Photograph: Adam Reich; courtesy of Luxembourg & Dayan

    César, Expansion Moteur (Motor Expansion), 1971

    César
    A Nouveau Réalist sculptor and French cultural hero, César is little known here. This survey offers New Yorkers a chance to catch up with an artist whose interest in technology led him to create truly unusual works made from crushed cars, polyurethane and Plexiglas. Luxembourg & Dayan, Nov 2–Jan 18.

  • Photograph: Adam Reich; courtesy of Luxembourg & Dayan

    César, Pavillon, 1986

    César
    A Nouveau Réalist sculptor and French cultural hero, César is little known here. This survey offers New Yorkers a chance to catch up with an artist whose interest in technology led him to create truly unusual works made from crushed cars, polyurethane and Plexiglas. Luxembourg & Dayan, Nov 2–Jan 18.

  • Photograph: Adam Reich; courtesy of Luxembourg & Dayan

    César, Compression Plexi Jaune et Blanche (Plexiglas Compression Yellow and White), 1972

    César
    A Nouveau Réalist sculptor and French cultural hero, César is little known here. This survey offers New Yorkers a chance to catch up with an artist whose interest in technology led him to create truly unusual works made from crushed cars, polyurethane and Plexiglas. Luxembourg & Dayan, Nov 2–Jan 18.

  • Tim Nighswander/ IMAGING4ART; © 2013 The Willem de Kooning Foundation/Artists Rights Society (ARS); New York; courtesy Gagosian Gallery

    Willem de Kooning, no title, 1984

    Willem de Kooning, “Ten Paintings, 1983–1985”
    The pieces in this show date from a period late in De Kooning’s career, when he radically consolidated his furious brushwork into a style that resembled nothing so much as a schematic code for his previous practice. The show is organized by John Elderfield, who put together MoMA’s 2011 De Kooning survey. Gagosian Gallery, Nov 8–Dec 21.

  • Tim Nighswander/ IMAGING4ART; © 2013 The Willem de Kooning Foundation/Artists Rights Society (ARS); New York; courtesy Gagosian Gallery

    Willem de Kooning, The Privileged (Untitled XX), 1985

    Willem de Kooning, “Ten Paintings, 1983–1985”
    The pieces in this show date from a period late in De Kooning’s career, when he radically consolidated his furious brushwork into a style that resembled nothing so much as a schematic code for his previous practice. The show is organized by John Elderfield, who put together MoMA’s 2011 De Kooning survey. Gagosian Gallery, Nov 8–Dec 21.

Photograph: Courtesy David Zwirner

John McCracken, Six Columns, 2006

John McCracken, “Works from 1963–2011”
The Zen master of California Finish Fetish Minimalism, McCracken is recalled here in a roundup of pieces culled from public and private collections. Don’t miss the forest of black monoliths. David Zwirner, through Oct 19.


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